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Journal articles on the topic "Blake, William (1757-1827). Jerusalem"
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Buckley, Peter J. "William Blake (1757–1827)." American Journal of Psychiatry 162, no. 5 (May 2005): 866. http://dx.doi.org/10.1176/appi.ajp.162.5.866.
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Steil, Juliana. "Traduções de William Blake no Brasil." Revista Letras Raras 7, no. 2 (September 29, 2018): 58–66. http://dx.doi.org/10.35572/rlr.v7i2.1120.
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Este artigo apresenta um panorama das traduções de William Blake (1757-1827) em língua portuguesa no contexto do sistema literário brasileiro. Traduções em português europeu também são consideradas, uma vez que elas circulam no Brasil e têm sua participação na história da tradução do artista inglês no país. Concentrando-se no material escrito das obras de Blake, o artigo inclui uma breve análise das traduções no que se refere aos elementos poéticos de sua poesia e de sua prosa, em especial das traduções de The Marriage of Heaven and Hell e Songs of Innocence and of Experience, as duas obras mais importantes do artista para a literatura brasileira quanto ao número de traduções.
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Alkayid, Majd M., and Murad M. Al Kayed. "The Language of Flowers in Selected Poems by William Blake: A Feminist Reading." Theory and Practice in Language Studies 12, no. 4 (April 2, 2022): 784–89. http://dx.doi.org/10.17507/tpls.1204.20.
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The study aims at analyzing the meanings and symbolic implications of flowers in selected poems by William Blake (1757-1827) from a feminist perspective. This paper analyzes the themes and symbolism of different kinds of flowers to explain how William Blake tries to expose the situation of women in the patriarchal nineteenth-century society. The study discusses the language of flowers from a feminist perspective relying on three prominent feminists. First, the study relies on Mary Wollstonecraft (1759–1797) who rejected the patriarchal role of women as submissive and weak. Second, the study applies Virginia Woolf’s feminist perspective about rejecting the role of women as the angels of the house. Third, the study applies Simone de Beauvoir’s rejection of categorizing women as subjective and inferior. William Blake is an early feminist who rejected the submission of women and used his poetry to comment on the situation of women in the nineteenth century. He expresses many issues related to women. He believed in women’s ability to be independent and strong and he refutes the traditional social stereotyping of women as being inferior and weak and therefore they are in constant need of the support of men. Blake stresses the beauty and strength of women through describing women in floral imagery.
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Billingsley, Naomi. "Re-viewing William Blake’s Paradise Regained (c. 1816–1820)." Religion and the Arts 22, no. 1-2 (February 16, 2018): 16–39. http://dx.doi.org/10.1163/15685292-02201001.
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Abstract This article presents a revisionist reading of William Blake’s (1757–1827) twelve watercolor designs for John Milton’s “Paradise Regained” (c. 1816–1820). The designs have previously been dismissed in critical commentary as of little interest to Blake scholarship, or regarded as a narrative merely about Christ’s human nature. This article argues that they are also a visual expression of Blake’s cosmology; it is proposed that the designs express a positive cosmology, in which Paradise is not so much to be regained, as re-viewed. The article argues that Blake emphasizes Christ’s divinity in the designs and that he is depicted as an immanent, sacramental presence in the world; hence, the world that Christ inhabits in the designs is a Paradise. The article begins by outlining its reading of Blake’s view of the material world, and moves on to discuss the “Paradise Regained” designs in detail, with a particular focus on The Baptism of Christ, the opening subject of the series, which establishes the positive cosmology presented throughout the series.
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Yan, Hanjin. "Reforming the Relations of the Sexes: Zhou Zuoren’s Translation and Imitation of William Blake’s Poems about Love and Sexuality." NAN NÜ 22, no. 2 (December 2, 2020): 313–41. http://dx.doi.org/10.1163/15685268-02220003.
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Abstract This article probes into the motivation behind Zhou Zuoren’s (1885-1967) translation and imitation of the English poet William Blake’s (1757-1827) poems about love and sexuality in the May Fourth era. It situates Zhou’s approach to Blake’s poems in the contemporary context of the New Culture Movement and traces the Japanese and English sources that informed Zhou’s reading of Blake. By analyzing Zhou’s selective use of his foreign sources and his calculated translation of Blake’s poems, it argues that Zhou’s appropriation of Blake was driven by his agenda for unfettered sexuality, free love, and women’s emancipation, i.e. the reform of the relations of the sexes in China. This study goes on to investigate Zhou’s reference to and imitation of Blake in the controversy over a young poet’s writing of love poems in 1922. It further contends that Zhou’s concern for sex relations was part and parcel of his vision of modern Chinese poetry, which resonates with his earlier and far-reaching proposal for a literature of humanity that profited from Blake’s theory of the unity of body and soul.
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Picón Bruno, Daniela. "El libro como soporte de la experiencia visionaria en las profecías iluminadas de William Blake y el Libro Rojo de Carl Gustav Jung." Literatura: teoría, historia, crítica 19, no. 1 (January 1, 2017): 63–85. http://dx.doi.org/10.15446/lthc.v19n1.60564.
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En este artículo reflexionamos sobre dos obras pertenecientes al mundo moderno y contemporáneo en las que el manuscrito iluminado es utilizado como soporte de registro de la experiencia visionaria: los Libros Proféticos Iluminados de William Blake (1757-1827) y el Libro Rojo de Carl Gustav Jung (1875-1961). Estos autores consideraron el manuscrito iluminado como un formato más auténtico para la transmisión de sus visiones, ya que permitía superar la dimensión puramente estética del arte y convocar una síntesis entre la materia y el espíritu propio del pensamiento simbólico del neoplatonismo del siglo xii europeo. Desde esta perspectiva, indagamos en el carácter altamente espiritual que Blake y Jung confirieron a la creación artística y a la materialidad del libro como soporte de escritura y de lectura, estableciendo algunas correspondencias con las nuevas concepciones sobre el arte elaboradas en el contexto de las vanguardias europeas del siglo xx.
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Cornils, Ingo. "Editorial." Literatur für Leser 38, no. 1 (January 1, 2015): 1–3. http://dx.doi.org/10.3726/90071_1.
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Erfahrung, so der englische Dichter William Blake (1757-1827), kostet den Menschen alles was er hat.1 Für den deutsch-schweizerischen Schriftsteller Hermann Hesse (1877-1962), der dem englischen Mystiker in seiner Unbedingtheit auf vielfältige Weise ähnelt,2 trifft diese Maxime sicherlich im besonderen Maße zu. Aufgewachsen in einer pietistisch frommen Familie, wurde sein ,Eigensinn‘ von frühester Jugend an systematisch herausgefordert. Eltern und Lehrer versuchten mit allen Mitteln, seinen Willen zu brechen: eine brutale Form der Erziehung, die der junge Hesse mit Eskapaden, Flucht und einem Selbstmordversuch beantwortete. Gleichzeitig wurden die religiösen Eckpfeiler, das Bewusstsein von Gut und Böse, von Schuld und Verdammnis, von Himmel und Hölle, tief in seine Psyche eingepflanzt. Das Problem einer dualistisch konstruierten Welt sollte ihn sein Leben lang beschäftigen und zu einem Gegenentwurf herausfordern, der die Vielfältigkeit der erfahrbaren Welt schätzt und gleichzeitig die Einheit hinter den Gegensätzen betont.
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Baradaran Jamili, Leila, and Sara Khoshkam. "Interrelation/Coexistence between Human/Nonhuman in Nature: William Blake’s Songs of Innocence and Songs of Experience." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 14. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.14.
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This paper considers the interrelation and coexistence between human and nonhuman in nature in William Blake’s (1757-1827) Songs of Innocence and Songs of Experience (1789-1794). The paper looks at his poems in the light of ecocentrism, especially the theories of Lawrence Buell (1939- ) and Ashton Nichols (1953- ), who articulate ecocentrism as a word which expresses the interconnection between human and nonhuman in nature and environment. The word, ecocentrism, denotes nature and environment as the central and essential parts of the world to represent them as a web or system wherein all members and parts, including human and nonhuman, are related and connected to each other so closely that they cannot exist and live separately and lonely. By human, it refers to who is a creature in the web, who links to other creatures and entities so closely that he cannot be isolated from them. The linkage and coexistence are the matter which can be viewed in some of the poems of William Blake’s Songs of Innocence and Songs of Experience. Blake watches environment and nature carefully, and in some of the poems of two mentioned collections such as “The Echoing Green,” “Nurse’s Song,” “Holy Thursday,” “The School Boy,” to name just a few, he illustrates a situation of life in which human has close relation and connection to other creatures. According to Blake, human and nonhuman have such a vital relationship so that no one can live without the others. All creatures and beings in an organism have an effect on each other, and they are interrelated. The paper shows interconnection and coexistence between human and nonhuman in Blake’s Songs of Innocence and Songs of Experience due to portrayal and representation of nonhuman creatures in the world. It defines some nonhuman terms such as nature and environment and then focuses on the interrelation and coexistence between human and nonhuman in Blake’s Songs of Innocence and Songs of Experience in accordance with ecocentrism.
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Conrad, Leon. "Roots, shoots, fruits: William Blake and J M Robertson: two key influences on George Spencer-Brown's work and the latter's relationship to Niklas Luhmann's work." Kybernetes 51, no. 5 (January 20, 2022): 1879–95. http://dx.doi.org/10.1108/k-11-2020-0726.
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PurposeBlake is relatively well-known, but who was J M Robertson? What's his connection with George Spencer-Brown? And how exactly did J M Robertson influence George Spencer-Brown?Design/methodology/approachGeorge Spencer-Brown (1923–2016) is the author (among other works) of the undeservedly little-known book, Laws of Form (1969/2011), which was a key inspiration for Niklas Luhmann (1927–1998). But what inspired George Spencer-Brown? This paper explores two key influences on George Spencer-Brown and his work: the English poet and artist, William Blake (1757–1827) and the Scottish rationalist, politician and author, J M Robertson (1856–1933).FindingsThe paper points to a broken link between George Spencer-Brown's work and Niklas Luhmann's.Originality/valueThese questions are explored from two perspectives: first, George Spencer-Brown's works and their debt to (1) Blake's work, from which he quotes in a number of instances and to (2) J M Robertson's (in particular, the latter's Letters on Reasoning (1905) and Rationalism (1912)); second, my personal connection to Spencer-Brown, who mentored me through Laws of Form and with whom I developed a close friendship involving regular weekly telephone conversations for the greater part of the last four years of Spencer-Brown's life. I share anecdotes and stories that connect George Spencer-Brown and J M Robertson that span George Spencer-Brown's lifetime – from his school days to his dying days. Both Blake's and Robertson's influences are relevant to Spencer-Brown's view of morality. The paper looks at specific connections between Blake's work and J M Robertson's on the one hand and George Spencer-Brown's on the other.
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Soltan Beyad, Maryam, and Mahsa Vafa. "Transcending Self-Consciousness: Imagination, Unity and Self-Dissolution in the English Romantic and Sufis Epistemology." International Journal of Linguistics, Literature and Translation 3, no. 8 (August 30, 2021): 08–18. http://dx.doi.org/10.32996/ijllt.2021.4.8.2.
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English Romantic literature of the late eighteenth and early nineteenth centuries often recounts an individual life journey which depicts physical and spiritual pilgrimage and traverses both the inner and outer world to liberate the self and reach a revelatory moment of unification where the division between human mind and the external world is reconciled. For the Romantic poets this reconciliatory state cannot be achieved through rational investigation but via the power of imagination. In this regard, there is striking resemblance between the mystical and philosophical thought of Sufism and the idealistic thought of the English Romantic poets as they both strive for a sense of unification with the Divine or the Ultimate reality, and they both rely on imagination and intuitive perception to apprehend reality. Applying an analytical-comparative approach with specific reference to Northrop Frye’s anagogic theory (1957) which emphasizes literary commonalities regardless of direct influence or cultural or theological distinctions, this study endeavors to depict that certain Romantic poets’ longing for the reconciliation of subject and object dualism via imagination and its sublime product, poetic language, echoes the mystic’s pursuit of transcendental states of consciousness and unification with the divinely infinite. Through analysis of the concept of self-dissolution (fana) in Islamic mysticism and Sufi literature, particularly the poems of Jalal ad-Din Mohammad Balkhi (1207-1273) known in the West as Rumi, the outcome of this study reveals that the Romantics’ yearning for a state of reconciliation, which is prevalent in the major works of the Romantic poets such as William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Percy Bysshe Shelley (1792-1822), and John Keats (1795-1821), corresponds to the mystic’s pursuit of unity or the Sufi’s concept of self-annihilation or fana.
Dissertations / Theses on the topic "Blake, William (1757-1827). Jerusalem"
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Zhao, Hui. "La naissance d'une œuvre ouverte : analyse de Jerusalem de William Blake à travers une heuristique du montage." Electronic Thesis or Diss., Université Paris sciences et lettres, 2023. http://www.theses.fr/2023UPSLP004.
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Réputé pour son caractère ésotérique et pour son défi à l'entendement rationnel, Jerusalem, le chef-d'œuvre poético-visionnaire de William Blake offre à ses lecteurs un passage de révélation divine, ainsi qu'un laboratoire unique où l'image et le texte, non seulement s'entrelacent, mais aussi échangent leurs rôles dans l'expression. S'appuyant sur la notion warburghienne de pathosformel, la thèse introduit une analyse de l'image qui se soustrait à la confusion de la dénomination et se consacre à pénétrer l'obscurité du texte de Jerusalem. L'étude vise à montrer, dans un réseau heuristique du montage juxtaposant d'éléments du répertoire hétérogène dont Blake s'inspire, l'épaisseur artistique et culturelle de ce « bricolage » de Blake - Jerusalem, dont le sens évolue sans cesse, en interrogeant la nature de l'expression verbale et celle de l'expression visuelleWell-known for its esoteric character and for its defiance of rational understanding, Jerusalem, William Blake's poetic-visionary masterpiece offers its readers a passage of divine revelation, as well as an unique laboratory where the image and the text not only intertwine, but also exchange their roles in expression. Drawing on Warburgh's notion of pathosformal, the thesis introduces an analysis of the image that escapes from the confusion nominal and dedicates itself to penetrate the darkness of the text of Jerusalem. The study aims to show, in a heuristic network of the montage juxtaposing elements of the heterogeneous repertoire from which Blake draws inspiration, the artistic and cultural depth of this "bricolage" of Blake - Jerusalem, whose meaning is constantly evolving, in questioning the nature of verbal expression and that of visual expression
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Fuglem, Terri. "William Blake and the ornamental universe." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69556.
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Blake's writings were explored as a refutation of Newton and Locke, and thereby positivism and atomistic psychology, leading to a renovation of the sensual body and the imagination. The form of Blake's work, the Illuminated Manuscript, is examined for the relationship between image and text in the prophetic mode, and for its investigations of the copy within a typographic culture. In the last Chapter, Blake's prophetic poem Jerusalem unveils his conception of the Spiritual Fourfold as the restitution of an ornamental universe and the 'building' of the Heavenly City on earth.
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Ormsby, Bronwyn Ann. "The materials and techniques of William Blake's tempera paintings : William Blake, 1757-1827." Thesis, Northumbria University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275737.
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Pharabod-Ibata, Hélène. "William Blake : l'invention d'une esthétique." Paris 3, 1998. http://www.theses.fr/1998PA030178.
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Opposee aux theorisations et sans respect pour l'horizon d'attente de ses contemporains, l'oeuvre graphique et picturale de william blake semble marginalisee dans les developpements de l'art au tournant du xixe siecle. L'objet de cette etude est de mettre en evidence l'interaction nouvelle entre artiste, oeuvre et spectateur qui y est en jeu. Il a paru utile pour cela de retablir les liens de blake avec les transformations epistemologiques des lumieres, afin de cerner une demarche artistique moins isolee que hardie; moins conservatrice que proche des revolutions intellectuelles vers lesquelles se dirige la pensee de son temps. En l'absence de theorie, le mythe et l'oeuvre sont mis a contribution pour completer des fragments de reflexions sur l'art, dont le caractere dogmatique a souvent conduit a negliger la complexite et la tolerance des choix offerts par la pratique de l'artiste. L'oeuvre peinte notamment, marginale par ses moyens et procedes, est reevaluee, en raison des defis qu'elle presente pour la representation traditionnelle. Des recherches experimentales recentes, portant sur les techniques utilisees dans la production des poemes enlumines, sont egalement utilisees pour faire apparaitre l'interaction entre des intentions stylistiques coherentes et les resistances du materiau graphique. Cette etude espere ainsi mettre en evidence le decloisonnement de l'image et du regard qui, chez blake, accompagne l'emancipation de l'artisteWith its strong opposition to theories and its disrespect of contemporary representational expectations, william blake's graphic and pictorial work seems isolated from artistic developments at the turn of the nineteenth century. In this study, blake's links with the epistemological transformations of the enlightenment are reexamined, in order to stress the artist's thorough grasp of the intellectual revolutions of his time. His new conception of the interaction between the artist, the work, and the public, are traced back to this cultural background. Blake's fragmentary and dogmatic writings on art, which point to intellectual isolation, are complemented by his myth and visual work, in order to stress the tolerance and complexity of artistic choices present in his own practice. Recent experimental research on the production techniques of the illuminated books helps to show how the artist's stylistic intentions, and possibly theoretical effort, might have been tempered by a concrete everyday experience of graphic materials. Blake's aesthetics, we hope to show, is characterized by a new consciousness of the ever-changing interaction between the artist and his work, and the eye of the beholder
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Bouchet, Claire. "Les métaphores dans la poésie de William Blake : enjeux de traduction." Paris 3, 2004. http://www.theses.fr/2004PA030125.
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Cette étude a pour objet de montrer, mesurer et qualifier l’apport d’une approche traductive à l’herméneutique littéraire. Le champ d’étude est circonscrit à la figure particulière de la métaphore, au sein de cette partie de l’œuvre poétique de William Blake que l’on appelle les Livres Prophétiques, et à travers quatre de leurs traductions. Le repérage des références extra-textuelles, le décodage des réseaux intratextuels, l’analyse des choix de traduction selon les contraintes de la sémantique, de la syntaxe ou de la morphologie, tant de la langue de départ que de la langue d’arrivée et l’analyse des spécificités de l’écriture poétique contribuent à montrer que la traduction est une activité créatrice qui se fonde sur un travail de lecture spécifique et qui fait du traducteur un critique littéraire, un révélateur du style de l’auteur et un créateur d’œuvre littéraireThis study aims at probing, measuring and defining how the act of translating can contribute to literary analysis. It concentrates particularly on metaphors as they appear in four French translations of William Blake’s “Lambeth Books”. Translation is an activity which involves defining the cultural references of the work of art as well as the inner networks of imagery, and leads to making decisions in translating the text, according to the rules of semantics, syntax or morphology in both languages. Added to the analysis of the specificity of poetry writing, all these elements tend to show that translating is a creative activity based on a specific strategy of reading and which show how the translator is also a literary critic, the initiator into an author’s style and a creator of literary works
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Saklofske, Jon A. H. ""Enough! or too much" : the functions of media interaction in William Blake's composite designs." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19469.
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Visual art and written text have been described as historical sisters, linguistic twins and warlike enemies. These attempts to exclusively define the capabilities of each medium are inherently limited, contradictory and inaccurate. A better understanding of their individual capability and cooperative possibility can be achieved by examining the ways in which each functions in relation to the other on the composite page. William Blake's designs provide an excellent arena in which the functional interaction between the arts can be observed. Blake's visual additions to the poetry of Thomas Gray, Robert Blair and Edward Young demonstrate that the visual image is capable of interrupting the stability of exclusive textual meaning. However, this does not undermine the capability of either medium to assert meaningful possibility. Rather, the excess of Blake's visual imagery amidst another's poetic page produces a pluralisation of media and representative potential that avoids the extremes of hierarchical definition and all-inclusive meaninglessness. In contrast, Blake's own composites feature visual art and textual expression that both contribute to an overall evasion of definitive interpretation. However, their unpredictable interrelations and inconsistencies amplify and distort one another on the composite page, sustaining a relationship that is neither exclusively harmonic nor discordant. Thus, the non-synthetic "marriage" of contrary states that provides the subject matter of the Songs and the Marriage is also an accurate model for the overall relationship between visual art and text in Blake's designs. A consideration of historical context reveals the contradictory currents that direct and antagonise Blake's designs and suggests that the perception of the relationship between the "Sister Arts" often depends on such temporal conditions. While acknowledging the limitations imposed by historical circumstance, this study also recognises that late eighteenth-century uncertainties encourage innovative reconceptualisations of composite interaction. In both form and content, Blake's designs contain yet contend with a variety of perspectives, and are invaluable examples of the individual and interactive plenitude that visual art and text are capable of. Overall, Blake's work highlights the unique role that the multi-media space plays in creative and critical efforts to understand the functional capability of each representative medium.
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Dougherty, Karen. "Dorothy Livesay and William Blake : the situation of the self." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68083.
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This thesis traces the connections between Dorothy Livesay and William Blake, especially with respect to the construction and symbolization of the self. Models of influence relevant to Livesay and Blake are examined resulting in a contextual model of influence which considers artists' "anxiety" and the importance of gender issues. Archival documents supplement, and sometimes transform the implications of, Livesay's poetry and other published works in relation to Blake. The discussion moves from tracing the general points of intersection between Livesay and Blake (ancestors, traditions), to focusing on the different levels of influence that can be claimed between the two poets. The presence of Blake in Livesay's writings is examined closely, especially with respect to the imaginative states which each sets up to describe the self. Finally, Livesay's construction of the journey of her own life and her movement towards an ideal of self-completion which culminate in her celebratory late works are compared with Blake's ideal of the self as set forth in his Prophetic Works.
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Picón, Bruno Daniela. "Escenas de escritura visionaria: Hildegard de Bingen y William Blake." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/108581.
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La siguiente investigación se centra en el estudio de las escenas de escritura de dos autores cuyas obras podemos denominar visionarias, ellos son Hildegard von Bingen (1098-1179) y William Blake (1757-1827). El estudio del momento en que estos dos autores pusieron por escrito lo que ellos experimentaron como revelación divina, utilizando diferentes soportes escriturarios, nos lleva a comprender, por una parte, cómo es que concibieron la escritura de revelación, a partir de dos contextos distantes en el tiempo, pero también nos permite realizar un análisis que espera establecer las similitudes existentes entre ambos autores, como depositarios de la tradición visionaria. El estudio de la escena de escritura como tal, que tiene lugar luego de la visión (a la cual ambos se refirieron en varias instancias) pero también de las escenas de escritura presentes en su obra misma -tanto en el texto como en la imagen visual- nos lleva a comprender cómo es que la elaboración escrita (y visual) de las visiones se hace parte fundamental del proceso creativo de la experiencia visionaria y el modo en que la elección de una forma particular de transmisión escrita de las visiones condiciona también una forma de comunicación y recepción por parte de los lectores, la que está íntimamente relacionada con el mensaje que se espera transmitir a través de los textos visionarios.
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Meckelborg, Robert James, and University of Lethbridge Faculty of Arts and Science. "The Satanic Blake : the continuing empathy with rebellious and creative energy as presented in "Satan Rousing His Legions"." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2007. http://hdl.handle.net/10133/622.
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Through an examination of Blake’s idea of Satan and his depiction of Satan and the rebel angels in the Paradise Lost design Satan Rousing his Legions, my thesis will demonstrate four principle findings, in addition to offering a fresh and unconventional interpretation to what is arguably Blake’s most profound depiction of Satan. One result is the demonstration that Blake maintained and developed his idea of Satan as a force of revolutionary energy and paradigm of Creative Imagination throughout his life. Secondly, I will demonstrate that Blake’s employment of, and references to, a punitive, destructive, and materialistic Satan is in fact a personification of the oppressive aspect of the Church and State. My third determination is that Blake’s vision of the Church as the oppressive and repressive tyrant Urizen did not soften as he aged but was steadfastly maintained until his death. And finally, I will establish that Blake did in fact maintain his revolutionary enthusiasm his entire life.iv, 236 leaves : ill. (some col.) ; 29 cm.
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Rayneard, Max James Anthony. "Reading William Blake and T.S. Eliot: contrary poets, progressive vision." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007545.
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Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.
Books on the topic "Blake, William (1757-1827). Jerusalem"
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Blake's 'Jerusalem' as visionary theatre: Entering the divine body. Oxford: Oxford University Press, 2011.
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Ankarsjö, Magnus. William Blake and religion: A new critical view. Jefferson, N.C: McFarland & Co., 2009.
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Ankarsjö, Magnus. William Blake and religion: A new critical view. Jefferson, N.C: McFarland & Co., 2009.
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Gallery, Tate. William Blake, 1757-1827. 3rd ed. London: Tate Gallery, 1990.
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Harold, Bloom, ed. William Blake. New York: Chelsea House Publishers, 1985.
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David, Punter, ed. William Blake. New York: St. Martin's Press, 1996.
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William, Vaughan. William Blake. Princeton, NJ: Princeton University Press, 1999.
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Behrendt, Stephen C. Reading William Blake. Basingstoke: Macmillan, 1992.
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Behrendt, Stephen C. Reading William Blake. New York: St. Martin's Press, 1992.
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Larrissy, Edward. William Blake. Oxford, Oxfordshire, UK: B. Blackwell, 1985.
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Piquet, François. "Blake, William (1757–1827)." In A Handbook to English Romanticism, 19–31. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_9.
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Piquet, François. "Blake, William (1757–1827)." In A Handbook to English Romanticism, 19–31. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_9.
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"William Blake (1757–1827)." In The Routledge Anthology of Poets on Poets, 219–44. Routledge, 2003. http://dx.doi.org/10.4324/9780203360118-23.
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"William Blake (1757–1827)." In London, 318–24. Harvard University Press, 2015. http://dx.doi.org/10.2307/j.ctv22jnsm7.73.
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Bauer, Mark S. "William Blake (1757–1827)." In A Mind Apart, 123–24. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336405.003.0041.
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Abstract “My Spectre around me night and day” My Spectre around me night and Like a wild beast guards my way; My Emanation far within Weeps incessantly for my sin. A fathomless and boundless deep, There we wander, there we weep; On the hungry craving wind My Spectre follows thee behind. He scents thy footsteps in the snow, Wheresoever thou dost go, Thro’ the wintry hail and rain. When wilt thou return again? Dost thou not in pride and scorn Fill with tempests all my morn, And with jealousies and fears Fill my pleasant nights with tears? Seven of my sweet loves thy knife Has bereavèd of their life. Their marble tombs I built with tears, And with cold and shuddering fears. Seven more loves weep night and day Round the tombs where my loves lay, And seven more loves attend each night Around my couch with torches bright. And seven more loves in my bed Crown with wine my mournful head, Let us agree to give up love, And root up the Infernal Grove; Then shall we return and see The worlds of happy Eternity. And throughout all Eternity I forgive you, you forgive me. As our dear Redeemer said: “This the Wine, and this the Bread.”
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"William Blake (1757–1827; English)." In Romanticism: 100 Poems, 12–16. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108867337.004.
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"William Blake (1757–1827) Holy Thursday." In London, 318. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-109.
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"William Blake (1757–1827) Cat. nos. 29–31." In Great British Watercolors: From the Paul Mellon Collection at the Yale Center for British Art. Yale Center for British Art, 2007. http://dx.doi.org/10.37862/aaeportal.00227.014.
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