Academic literature on the topic 'Blake, William, 1757-1827 Marriage of Heaven and Hell'

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.

There are nine known complete copies (A-I) of The Marriage of Heaven and Hell; Michael Phillips’s edition reproduces the copy (B) bequeathed to the Bodleian Library by the antiquarian Francis Douce (1757-1834). In addition to the variations that make all copies of Blake’s illuminated books distinct, copy B is further distinguished by its frontispiece illustration, the etching entitled “Our End Is Come,” which is not a part of any other known copy of The Marriage. The Marriage is the only undated illuminated book produced by Blake while he lived in Lambeth. However, “Our End Is Come” bears the date “June 5: 1793,” and Phillips’s introduction and commentary offer a detailed exploration of The Marriage in relation to the intellectual and cultural milieux of the early 1790s that appear to have influenced Blake as he produced one of his most celebrated works. Phillips also describes the materials and methods of printmaking during the period in his account of how Blake may have etched, printed, and colored an illuminated work like The Marriage.

William Blake’s (1757-1827) work did not see the resounding success in his time as it does today. A vocal critic of the Church, he expressed his ideas in engravings, poems, and prose, creating his own complex Christian-esque history that he felt encapsulated the good of the religion while excluding the unsavory parts of the institutional organization. Over time, his writings have gained more widespread support, with fears of dissent from those in charge dissipating. Through his works “The Tyger,” “The Garden of Love,” and “The Marriage of Heaven and Hell,” as well as the writings of Blakeian scholars, Blake’s critiques of the Church are demonstrated to be rooted in his belief that the Church is incapable of trusting its followers, instead prescribing a narrow lens in which worship cannot stray far from.

O objetivo geral desta dissertação é interpretar o corpo enquanto instância semântica no poema O Casamento do Céu e do Inferno (1790), do poeta inglês William Blake. Sustenta-se que uma semântica profunda de TMHH instaura uma forma ativa, integrada e franca de viver. Investigaremos a concepção de corpo presente do poema a fim de validar a hipótese de que é possível ter a vida transformada pela leitura de um texto altamente poético. Essa transformação, em última instância, é uma consequência da apropriação do texto pelo leitor. Tal apropriação se dá não só pela via mental, mas de fato pela incorporação do texto literário. O trabalho será realizado com base na hermenêutica de Paul Ricoeur, especialmente na dialética da conjectura e da validação. Já o livro de artista, ramo da arte conceitual do qual Blake é visto como um dos precursores, será apresentado enquanto performance e demonstração dos sentidos de corporeidade vislumbrados pela presente interpretação do poema. Em termos de embodiment, o papel da gravura em metal do processo criativo completo de Blake abre-nos possibilidades para um amplo horizonte de metáforas relacionadas às especificidades dessa técnica quando em articulação com o poema.
The general objective of this dissertation is to interpret the body as a semantic instance in the poem The Marriage of Heaven and Hell (1790), from English poet William Blake. It holds that the depth semantics of TMHH establishes an active, integrated, and franc way of living. We will investigate the conception of a present ‘body’ of the poem to validate the hypothesis that it is possible to have lives transformed by the reading of a highly poetic text. This transformation is ultimately a consequence of the appropriation of the text by the reader. Such appropriation is not only mental, but it takes place in the incorporation, or embodiment, of the literary text. The work will be based on Paul Ricoeur’s hermeneutics, especially the dialectics of guess and validation. The artist’s book, a field of conceptual art of which Blake is seen as precursor, will be presented as performance and demonstration of the senses of corporeality foreseen in this interpretation of the poem. In terms of embodiment, the role of engraving in Blake’s complete creative process opens to a wild horizon of metaphors concerning the specificities of this art in relation to the poem.