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1
Duerden, P. "Producing Blake." Thesis, Swansea University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636745.
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This thesis offers a demonstration and examination of the ways in which conceptions of literature are shaped by historically specific conditions and a study of the social, cultural, institutional and ideological needs that these conceptions attempt to meet. It proceeds on the basis that the reading process is both productive and determined by environmental conditions, a position reached by way of - to name only the main routes - Derrida's interrogation of the notion of the parergon or frame, and Tony Bennett's concept of the 'reading formation'. The central premise of the thesis is that 'Blake' - a metonym that connotes not only those texts and images produced by Blake, but all discourse that relates or refers to this constantly expanding and mutating formation - is not given but produced, and reproduced, endlessly, and within determinate sociocultural conjunctures. The subject of the thesis is twentieth-century formations of Blake, from the predominantly academic - Northrop Frye, historicist criticism (David Erdman, E.P. Thompson, Jereome McGann, Steve Clark and David Worrall), the curious treatment of Blake's The French Revolution and what this reveals about the dominant conceptions of Blake - to the non- or quasi-academic - the countercultural Blake (Aldous Huxley, Allen Ginsberg, Norman O. Brown, R.D. Laing, Michael Horovitz, Theodore Roszak) and biographical constructions of Blake (Mona Wilson/Peter Ackroyd). In each case I analyse the ideological and institutional requirements that control the ways Blake is conceived and the uses to which these readings are put. The picture of Blake that emerges is not unified or coherent, much less mimetic, but revealing bears the marks of the ongoing struggle to define the meaning and identity of literature and the conflicting forces involved.
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Drennan, William. "Blake and Gnosis." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367814.
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Farrell, Michael John. "Blake and the methodists." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527298.
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Boyce, Michèle D. "Blake and the emanation." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252372.
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Brown, Paul Ferrell. "Blake and the Enlightenment." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625980.
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Moore, Grace. "Paine, Blake and Hegemony." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626059.
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Lieshout, Jules van. "Within and without eternity : the dynamics of interaction in William Blake's myth and poetry /." Amsterdam ; Atlanta (Ga.) : Rodopi, 1994. http://catalogue.bnf.fr/ark:/12148/cb35716579k.
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Wells, David. "A study of William Blake's letters /." Tübingen : Stauffenburg-Verl, 1987. http://catalogue.bnf.fr/ark:/12148/cb36651920m.
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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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Payton, Steven James. "William Blake : the authority of truth /." Title page and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09arp347.pdf.
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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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Whittaker, J. P. "Blake and the myths of Albion." Thesis, University of Birmingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534142.
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Ishizuka, Hisao. "William Blake and eighteenth-century medicine." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265025.
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Billingsley, Naomi. "The visual Christology of William Blake." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/the-visual-christology-of-william-blake(f7f88baa-574c-4cb0-8d39-20046f370f6e).html.
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This thesis is an examination of Blake's images of Christ and a study of his theology of art. My central premise is that these two topics are to be viewed simultaneously: that is, I argue that Blake's visualisation of Christ is an expression of his theology of art. Moreover, I contend that through his art, Blake seeks to emulate the spirit of Jesus' life and ministry in order to engender a community of Imagination which is the Divine Body of Jesus. Through a series of case studies focusing on Blake's depictions of different aspects of Christ's life, this thesis examines how Blake uses images to express his Christology and his theology of art. In Part I, I set out Blake's Christological cosmology in three chapters which deal with beginnings in Christ's life. Chapter 1 examines Christ as Creator; here, Christ inhabits a role traditionally associated with the Father, demonstrating the pre-eminence of Christ in Blake's concept of God, and the divinity of his Creation. Chapter 2 focuses on the advent, birth and infancy of Christ; Blake depicts the Nativity as the birth of Vision, emblematic of the individual embodying that state. Chapter 3 discusses the inauguration of Christ's ministry, the Baptism and Temptations; in these subjects, Blake represents Christ as immanent in the world, making it a place of Imagination and Vision, and the individual must learn to see it as such. Part II is concerned with Blake's idea of art as apocalypse, and of Christ as the supreme type of the artist - the state which every individual should embody and which Blake seeks to engender through his works. Chapter 4 focuses on the Crucifixion, a subject with which Blake had difficulty owing to his objection to the doctrine of the Atonement but which he came to view as an emblem of the individual sacrificing his/her self-hood in order to realise his/her true identity in the Human Form Divine. Chapter 5 examines the Transfiguration, Resurrection and Ascension of Christ, exploring how Blake used these moments of transition between states in the life of Christ as types of the individual's transformation, and how these images seek to engender that process via a viewer- response aesthetic. Chapter 6 explores traditional apocalyptic subjects, in which, I argue, Christ is depicted as agent of artistic apocalypse, which for Blake consists of expunging error and embracing truth. Chapter 7 discusses Christ-like figures in Blake's depictions of Jesus' public ministry who embody the ideal state of imagination identified with Christ in the foregoing chapters, and thus act as members of Christ's Divine Body and as types for the individual's realisation of that state. I conclude with a discussion of the painting An Allegory of the Spiritual Condition of Man (1811?) which, I argue, encapsulates the central themes of this thesis.
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Young, John P. "Multimedia Blake World Wide Web version /." View online record:, 2000. http://srproj.lib.calpoly.edu/jyoung.
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Chambers, Leslie. "The Swedenborgian influence on William Blake." Thesis, Open University, 1993. http://oro.open.ac.uk/57405/.
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The aim of the thesis is to examine the Blake-Swedenborg connection, and the influence this Swede's writings may have had on Blake's published work. In particular The Songs of Innocence and of Experience and The Marriage of Heaven and Hell are considered in detail to assess a Swedenborgian influence. Also discussed are the annotations Blake made to his copies of Swedenborg's works, namely Heaven and Hell, Divine Love and Wisdom, and Divine Providence. A survey is made of the important literature expressing the Blakean perspective and the Swedenborgian perspective on the relationship. Blake's ambivalence towards Swedenborg is noted in the various periods of his life. The principal Swedenborgian symbols used by Blake are analysed. To set this examination in a Swedenborgian historical context, the development of the early New Church is briefly recorded, showing the links Blake had with Swedenborgian friends and Patrons. A detailed study is made of the Propositions placed before the first General Conference of the New Church and what might have been Blake's reactions to them as he attended the Conference. The thesis concludes with a discussion of the use of the word 'influence', both directly and indirectly as it applies to the Blake-Swedenborg connection. It is accepted that Blake was influenced directly for at least a part of his life by his Swedenborgian reading, and that the ideas gathered were never completely dismissed by him. As a contribution to the continuing study of the Blake- Swedenborg connection, archival material, and sketches and portraits of personalities known to Blake, who had strong Swedenborgian links, are gathered from many world wide locations.
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Whittaker, Jason. "William Blake and the myths of Britain /." Basingstoke (GB) : New York : Macmillan press ; St. Martin's press, 1999. http://catalogue.bnf.fr/ark:/12148/cb376224111.
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Cox, P. "'Unnatural refuge' : Aspects of pastoral in William Blake's epic poetry." Thesis, University of York, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234932.
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Jahrling, Eleanor C. "William Blake: Revealing the Lines of Infinity." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/867.
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In my thesis, I explore William Blake's technique of combining word and image in his practice of engraving. The unity of text and image is deeply related to his unique mythology and concept of infinity. Blake's artistic theories and practices, such as his emphasis on the line as the most essential artistic element, are reflective of his understanding of art in relation to human perception and imagination. The interaction of his words and images provides a space of imaginative engagement for the reader, which opens the doors of perception and creates the possibility of revealing infinity.
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Franklin, William Neal. "Awen, Barddas, and the Age of Blake." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278061/.
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Studies of William Blake's poetry have historically paid little attention to the Welsh literary context of his time, especially the bardic lore (barddas), in spite of the fact that he considered himselfto be a bard and created an epic cosmos in which the bardic had exalted status. Of particular importance is the Welsh concept of the awen, which can be thought of as "the muse," but which must not be limited to the Greek understanding of the term For the Welsh, the awen had to do with the Christian concept of the Holy Spirit, and beyond that, with the poet's connection with his inspiration, or genius, whether Christian of otherwise.
This study explores the idea of inspiration as it evolves from the Greek idea of the Muse, as it was perceived in the Middle Ages by Welsh writers, and as it came to be understood and utilized by writers in the Age of Blake.
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Steil, Juliana. "Tradução comentada de Milton de William Blake." Florianópolis, SC, 2011. http://repositorio.ufsc.br/xmlui/handle/123456789/95364.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Estudos da TraduçãoMade available in DSpace on 2012-10-26T00:41:25Z (GMT). No. of bitstreams: 1 299876.pdf: 2307924 bytes, checksum: 1a2a31ac21f25e65ff1cbd74e5c950b9 (MD5)
Partindo de uma análise do percurso da tradução das obras de William Blake no sistema literário brasileiro, esse trabalho discute uma proposta de tradução de Milton, uma das três maiores profecias do autor, como uma possibilidade de reescrita complementar às reescritas existentes do poeta inglês no Brasil. Fornecem dados para essa discussão a própria tradução de Milton e seu confronto com a tradução do mesmo livro realizada por Manuel Portela (Blake, 2009b). Na proposta de tradução apresentada neste trabalho, o ritmo, a pontuação, o uso de adjetivos, as repetições, as aliterações e consonâncias e os nomes próprios são identificados como algumas das características relevantes na totalidade do texto de Milton, e o estudo crítico sobre a obra e seu autor é considerado fundamental para determinar tanto as escolhas de tradução em nível textual como o perfil geral da reescrita
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Sherman, Brenda. "A study of the text of William Blake's Jerusalem: the emanation of the giant albion." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1990. http://www.kutztown.edu/library/services/remote_access.asp.
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Feldman, Travis. "The contexts and production of William Blake's The Four Zoas : towards a theory of the manuscript /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/6671.
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Otto, Peter. "Constructive vision and visionary deconstruction : Los, eternity and the production of time in the later poetry of William Blake /." Title page, table of contents and summary only, 1985. http://web4.library.adelaide.edu.au/theses/09PH/09pho91.pdf.
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Morweiser, Klaus. "Untersuchungen zum 'New Western' unter besonderer Berücksichtigung der Gattungsproblematik, Thematik und Motivik in Michael Blakes 'Dances with wolves' /." Regensburg (Allemagne) : Roderer, 1997. http://catalogue.bnf.fr/ark:/12148/cb388999084.
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Jung, Kenneth Alan. "The manacles of society : Blake's discourse on the 'other' /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059942.
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Stewart, David. "Blake, Boehme and the human or prophetic character." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314967.
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Goldman, William David. "'Prophetic history' : Blake, Browning & the visionary tradition." Thesis, King's College London (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416427.
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Denize, Joseph. "L'imagination créatrice chez William Blake et James Joyce." Paris 8, 2001. http://www.theses.fr/2001PA081994.
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Bien qu'appartenant à des genres différents, les poèmes de William Blake et les romans de James Joyce font état de similitudes profondes reposant essentiellement sur une conception de l'imagination créatrice commune aux deux auteurs. Faculté humaine mais aussi substance verbale (au sens théologique du terme) de l'expérience, l'imagination est la mátière première de l'être que l'artiste doit s'efforcer de capturer dans son oeuvre qui en devient ainsi l'anatomie ou le théâtre vivant. Sur les bases d'une définition précise des notions complémentaires d'imagination et d'anagogie, qui trouvent leurs prémisses dans la cosmologie et les théories hermésiennes du langage, le présent travail se propose de comparer le fonctionnement poétique des prophéties de Blake et des romans de Joyce afin, à terme, de dégager des éléments utiles à une discussion des problèmes soulevés par l'interprétation des textes hermésiens et par les théories modernes de la "dérive du sens"
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Chauvin, Danièle. "William Blake et l'Apocalypse le verbe et l'image /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376038725.
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Muir, Daniel. "Frowning Babe or Brightening Glance? Blake and Yeats's Particular Uses of Metaphor." Oberlin College Honors Theses / OhioLINK, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1396533537.
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Vine, Steven. "Blake's poetry : spectral visions /." London : New York : Macmillan ; St. Martin's press, 1993. http://catalogue.bnf.fr/ark:/12148/cb355874967.
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Colebrook, Claire Mary. "John Milton, William Blake and the history of individualism." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/26407.
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The justification of "the ways of God to man" in Paradise Lost draws upon a history of classical and Christian theories of justice. According to these theories, justice is a virtue and has less to do with positive law than it does with individual wisdom. These theories of justice as a virtue are conceptually dependent upon the doctrine of the Platonic/Christian soul and a certain form of pre-modern individualism. In response to the emergent modern individualism of his day Milton asserted a neo-Platonic conception of truth and order. According to this metaphysical theory, the individual, because he or she is endowed with a soul, can attain knowledge of a transcendent and eternal realm of truth through private contemplation. Although Romanticism has been seen by some critics, such as Harold Bloom, to promulgate a modern form of individualism, this thesis will argue that William Blake's poetry challenges both Milton's traditional doctrine of the soul with its personal relationship to God and the modern concept of subjectivity. Historians of ideas are united in locating the emergence of modern individualism in the seventeenth century with modern individualism being a hallmark of capitalist and increasingly secular societies. This modern form of individualism is rejected by both Blake and Milton but whereas Milton challenges modern individualism by reasserting an earlier hierarchical individualism, Blake sees individualism itself as the unifying characteristic of a great spiritual and cultural decline.
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Parker, Lisa Karee. "A World of Our Own: William Blake and Abolition." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11302006-120306/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Christine Gallant, committee chair; Paul Schmidt, LeeAnne Richardson, committee members. Electronic text (130 p. : ill., some col.) : digital, PDF file. Description based on contents viewed Apr. 20, 2007. Includes bibliographical references (p. 123-130).
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Sato, Hikari. "William Blake and multiculturalism between Christianity and heathen myths." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499276.
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Crosby, Mark Christopher. "'Sparks of Fire': William Blake in Felpham, 1800-1803." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491561.
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This thesis is a minute biographical investigation into William Blake's life and work while living at Felpham, Sussex between 1800 and 1803. During this period Blake's patron was the poet, biographer, and man of letters, William Hayiey. Previous scholarship on Blake's relationship with Hayiey has tended to focus on biographical eadings of Blake's penultimate illuminated book, Milton. These readings have consistently presented Hayiey as a negative influence on Blake. Instead, I use an interdisciplinary approach to demonstrate that Hayley's influence on Blake was productive and diverse, inspiring the composition of his two longest and most important works in illuminated printing.
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Walker, Luke. "William Blake in the 1960s : counterculture and radical reception." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/53244/.
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The study begins with an account of Blake, as voiced by Allen Ginsberg, taking part in a key Sixties anti-war protest, and goes on to examine some theoretical aspects of Blake's relationship with the Sixties. In Chapter One, I explore the relationship between ‘popular Blake', ‘academic Blake', and ‘countercultural Blake'. The chapter seeks to provide a revisionist account of the relationship between Blake's Sixties popularity and his earlier reception, suggesting that all three elements of Blake's Sixties reception – popular, academic and countercultural – have long been intertwined, and continue to interact in the Sixties themselves. In Chapters Two and Three, I focus in detail on Allen Ginsberg as a central figure not only in Blake's countercultural popularization, but also in the creation of Sixties counterculture itself. The first of these chapters, ‘Visionary Blake, Physical Blake, Psychedelic Blake', looks in detail at Ginsberg's 1948 ‘Blake vision' and the way Ginsberg later uses it to construct a Blakean narrative for the Sixties. I examine the significant differences between the versions of this event presented in Ginsberg's early poems and in his later prose and interview accounts, and Ginsberg's consequent attempts to develop a general theory of poetry in which the specific effects of Blake's poetry on the consciousness are compared to those of psychedelic drugs. Finally, I suggest that there are analogies between this ‘psychedelic' approach to Blake and the interest that Aldous Huxley had in using psychedelics to access Blake's own visionary state of consciousness. Chapter Three, ‘Ginsberg's Blakean Albion', analyses a selection of Ginsberg's poems, all linked to Blake's myth of Albion. I use these poems to examine the tensions present within the three-way relationship between Blake, Ginsberg and British counterculture. Particular attention is given to Ginsberg's poem ‘Wales Visitation' (1967), a work which I suggest is founded on the joint Romantic inheritance of Blake and Wordsworth, and which demonstrates the ways in which various strands of British Romanticism interact both within Ginsberg's poetry and within the broader Sixties counterculture. The final chapter of the study examines various aspects of the relationship between Blake and Bob Dylan, demonstrating the extent of Blake's influence on Dylan, but also tackling the surprisingly complicated and problematic question of the route(s) by which Blake arrives in Dylan's work.
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Ryu, Son-Moo. "Imagining society William Blake, William Wordsworth, and George Eliot /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3167282.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.Title from PDF t.p. (viewed Dec. 3, 2008). Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 1010. Chair: Nicholas Mark Williams.
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Dörrbecker, Detlef W. "Konvention und Innovation : eigenes und entliehenes in der Bildform bei William Blake und in der britischen Kunst seiner Zeit /." Berlin : Wasmuth, Kommissionsvertrieb Buchhandlung und Antiquariat, 1992. http://catalogue.bnf.fr/ark:/12148/cb37590096x.
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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.
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Chinelato, Fernanda Carolina Silva [UNESP]. "Variabilidade genética em progênies de guapuruvu Schizolobium parahyba (Vell.) Blake." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/99788.
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000758111.pdf: 1745610 bytes, checksum: cd922394519398b6196cb02039323d77 (MD5)O guapuruvu Schizolobium parahyba (Vell.) S. F. Blake é uma espécie pioneira de rápido crescimento da família Fabaceae (Leguminosae) de grande importância em projetos de restauração. Com o objetivo de verificar a variabilidade genética de progênies Schizolobium parahyba da região de Botucatu – SP foram estimados os parâmetros genéticos das características quantitativas de 10 locais. As mudas foram produzidas no viveiro do Departamento de Ciência Florestal – UNESP/Campus de Botucatu. O teste de progênies de polinização aberta foi instalado na Fazenda Experimental Lageado, UNESP/Campus de Botucatu e disposto no delineamento experimental em blocos casualizados com 60 progênies, três repetições, quatro plantas por parcelas lineares e em espaçamento 3 x 2 m. Os caracteres avaliados foram: diâmetro na altura do peito (DAP) e altura de plantas (H), em quatro idades: 2, 7, 14 e 20 meses, assim como a porcentagem de sobrevivência, aos 20 meses. Os dados foram analisados pelo software Selegen-REML-BLUP. Em média, as progênies de guapuruvu, aos 14 meses, atingiram 2,23 m de altura e 2,96 m aos 20 meses, com 6,0 e 7,5 cm de DAP, aos 14 e 20 meses, respectivamente. Os coeficientes de variação genética individual, variação genotípica entre progênies e variação relativa, mostraram uma variabilidade genética um pouco restrita e muito influenciada pelo ambiente, mesmo em condições onde os coeficientes de variação residual estão aceitáveis entre 12,8 e 21,1%, sendo um comportamento típico de caracteres altamente poligênicos, sugerindo o uso de seleção recorrente para a espécie. Os coeficientes de herdabilidade ao nível individual foram maiores para altura (0,32, 0,01, 0,25 e 0,39) em relação ao DAP (0,13, 0,01, 0,02 e 0,02)...
Guapuruvu Schizolobium parahyba (Vell.) S.F. Blake is a species of rapid growth belonging to the Family Fabaceae (Leguminosae), highly important for restoration programs. Aiming to verify the genetic variability of S. parayba progenies from Botucatu region, SP, Brazil, we estimate quantitative genetic parameters of 10 different provenances. Seedlings were done in nursery of Department of Forest Science (DCF) – São Paulo State University (UNESP) – Botucatu, São Paulo, Brazil. The open pollinated progeny trial was set up in Lageado Experimental Station of São Paulo State University (UNESP) - Botucatu through statistical design of randomized blocks, with 60 progenies, three replications, four plants per linear plots, and by 3 x 2 m of plant spacing. The studied traits were diameter of breast height (Dbh) and plant height (H) for four ages: 02, 07, 14, and 20 months old, and for plant survival we only studied by the 20 months old. Data were analyzed though Selegen-REML-BLUP software. In average, guapuruvu progenies by the 14 months old, reached 2.23 m of height and 2.96 m by the 20 months old, with 6.0 and 7.5 cm of Dbh, through 14 and 20 months old, respectively. Coefficients of individual genetic variation, genotypic variation among progenies, and relative variation have shown low genetic variability, and therefore, high environmental influence, even with coefficients of residual variation in acceptable levels from 12.8 to 21.1%. The presented coefficients are the typically occurrence by the polygenic traits, showing the necessity of use of recurrent selection in breeding programs. Heritability coefficients by the individual levels were higher for plant height (0.32, 0.01, 0.25, and 0.39) than Dbh (0.13, 0.01, 0.02, and 0.02) through the 02, 07, 14, and 20 months old, respectively. Similar values were found for additive heritability within progenies. Close results were obtained for heritability ...
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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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Bruder, Helen P. "Historicizing Blake in 'A Land of Men and Women Too'." Thesis, Oxford Brookes University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359640.
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Forbes, Nicholas George. "The encyclopaedia of hell : Wiliam Blake and the differential imagination." Thesis, University of Bristol, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556713.
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This thesis examines William Blake's engagement with the problem of pro- ducing "prophetic" art within the confines of the fallen world, in which it is necessarily constructed using inherited fallen materials and addressed to a fallen audience. It focuses primarily on the discourse and textuality of Jeru- salem, which it reads as a negotiation of the problem of the need to con- struct prophetic vision in the context of the impossibility of any such pronouncement within history. Jerusalem is examined as a differentiated en- cyclopaedia of Minute Particulars drawn from across Blake's contexts (intel- lectual, historical, cultural, etc) in a text that is a static tissue or weave of found fragments (citations) of fallen experience. This is analysed in relation to the encyclopaedic discourse of Walter Benjamin's Arcades Project, which mediates between idealism and fatalism by addressing the fallen world as it is manifested in the material phenomena of history. Benjarnin's approach is centred around his concept of the dialectical image, which presents material phenomena dialectically so as to trigger a recognition by the audience of the fallen state that they manifest, and the existential potential that fallen occu- pation conceals. This thesis examines the operation of this materialist dia- lectic in Blake's art, as a means of redeeming the contents of the work from fallen (discursive) significance by reactivating the creative imagination of the audience. It focuses on the strategies of decentralisation and fragmenta- tion by which the fallen particulars of Jerusalem are consistently desituated from their fallen settings and placed into a shifting and de structured textual field. This makes possible the active intervention of the audience who, in the act of reading, can resolve particulars into dialectical constellations in which their shared fallen status can become apparent, and thereby be overcome.
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Fallon, David. "'Devouring Fiery Kings': William Blake and the Politics of Apotheosis." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487188.
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This thesis examines the previously unrecognised importance of apotheosis as both a concept and a trope in Blake's literary and artistic works. Apotheosis can be defined as the transformation ofa human into a god or demi-god, most often figured posthumously as the ascension of the hero's soul to the stars in reward for services to the nation. The term also refers to the deification of powerful rulers whilst living. In both forms, apotheosis aestheticises ideology and authority through spectacle, imbuing both its representation and critique with political significance. The motif of apotheosis recurs throughout Blake's poetry and painting, and particularly informs his distinctive use of star imagery. I trace how Blake's engagement with the concept and its representation reflects both his conception of the political and his complex relationship to Enlightenment and radical thought. He shared with rational Protestants, Deists, and freethinkers a scepticism towards mythologised political authority, expressed in their shared investment in Euhemerism - a rational approach to myth, religion, and by implication state authority, which traces divinities back to deified mortals and state religions. Blake, however, retained an investment in mythopoesis and a radical scepticism towards rational individualism. The thesis places Blake in the context ofa wide range ofcontemporary historical materials. I examine his use ofthe apotheosis trope against the backdrop of the American and French Revolutions, in his juvenilia and The French Revolution (1791). I then examine the role ofapotheosis in the Lambeth prophecies, in the context of radicalism and state repression in the 1790s. Blake painted 'grand apotheoses' ofNelson and Pitt which he exhibited in 1809, and I explore the complex way he uses the motif satirically to undermine official models of heroism. Blake's treatment ofapotheosis went through a number ofdifferent permutations in which the balance between a negative critique and a positive transformation ofthe trope into images of resurrection and social renewal achieves a varying equilibrium. I conclude with an extended examination ofJerusalem (c.1804-20), exploring its emphatic focus on the energies ofthe resurrected body politic, demonstrating how Blake used the trope of apotheosis to envisage the potential for a transformation ofpolitical society.
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MacPhee, Chantelle L. ""All the World's a Stage" : William Blake and William Shakespeare." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/3467/.
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Shakespeare's presence in Blake's poetry has been virtually unrecognised by scholarly criticism except, of course, for Jonathan Bate's groundbreaking work of 1986. Bate has had no major successors, so this thesis is, then, an attempt to close to lacuna, to restore Shakespeare to the place that was recognized by Blake himself, as a major influence on his work. In my introductory chapter, I offer a brief sketch of the manner in which Shakespeare informed the culture of the later eighteenth century of which Blake was a product. I survey Shakespearean production, staging and acting techniques, and the history of textual reproduction, before turning to an aspect of the Shakespearean tradition of particular importance to Blake, the production of illustrated editions of Shakespeare's work, and the recourse to Shakespearean subject matter of the painters of the later eighteenth century. I end this chapter with an account of Blake's own Shakespearean illustrations. In Chapter 2, I focus on the earliest of Blake's poems to show a clear Shakespearean influence, the dramatic fragments: "Prologue to King John", Edward the Third, and "Prologue to Edward the Fourth". The major model for these early poetic experiments is, of course, the Shakespearean history or chronicle play, but I argue that even in these apprentice works Blake's appropriation of the Shakespearean model is complex. Shakespeare's history plays celebrate the emergence of an England that, as the defeat of the Spanish Armada demonstrated, had emerged as one of Europe's most powerful nation states. The most pressing political context for Blake's dramatic fragments is England's loss of America, its greatest overseas colony. The fragments are addressed, then, not to a confident nation, proud of its newfound position in the world, but to a nation that had very recently suffered a major blow to its confidence. Already evident, too in these early fragments is Blake's distrust of the Shakespearean notion, flamboyantly expressed in a play such as Henry V, that a nation's greatness might appropriately be measured by its military successes, particularly in war against another state.
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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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Kahn, Daniel Scott. "The Blake Ridge a study of multichannel seismic reflection data /." Thesis, Available online, Georgia Institute of Technology, 2004:, 2004. http://etd.gatech.edu/theses/available/etd-06072004-131223/unrestricted/kahn%5Fdaniel%5Fs%5F200405%5Fms.pdf.
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Chinelato, Fernanda Carolina Silva 1979. "Variabilidade genética em progênies de guapuruvu Schizolobium parahyba (Vell.) Blake /." Botucatu, 2011. http://hdl.handle.net/11449/99788.
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Orientador: Edson Seizo MoriBanca: Simey Thuruy Vieira Fisch
Banca: Mário Luiz Teixiera de Moraes
Resumo: O guapuruvu Schizolobium parahyba (Vell.) S. F. Blake é uma espécie pioneira de rápido crescimento da família Fabaceae (Leguminosae) de grande importância em projetos de restauração. Com o objetivo de verificar a variabilidade genética de progênies Schizolobium parahyba da região de Botucatu - SP foram estimados os parâmetros genéticos das características quantitativas de 10 locais. As mudas foram produzidas no viveiro do Departamento de Ciência Florestal - UNESP/Campus de Botucatu. O teste de progênies de polinização aberta foi instalado na Fazenda Experimental Lageado, UNESP/Campus de Botucatu e disposto no delineamento experimental em blocos casualizados com 60 progênies, três repetições, quatro plantas por parcelas lineares e em espaçamento 3 x 2 m. Os caracteres avaliados foram: diâmetro na altura do peito (DAP) e altura de plantas (H), em quatro idades: 2, 7, 14 e 20 meses, assim como a porcentagem de sobrevivência, aos 20 meses. Os dados foram analisados pelo software Selegen-REML-BLUP. Em média, as progênies de guapuruvu, aos 14 meses, atingiram 2,23 m de altura e 2,96 m aos 20 meses, com 6,0 e 7,5 cm de DAP, aos 14 e 20 meses, respectivamente. Os coeficientes de variação genética individual, variação genotípica entre progênies e variação relativa, mostraram uma variabilidade genética um pouco restrita e muito influenciada pelo ambiente, mesmo em condições onde os coeficientes de variação residual estão aceitáveis entre 12,8 e 21,1%, sendo um comportamento típico de caracteres altamente poligênicos, sugerindo o uso de seleção recorrente para a espécie. Os coeficientes de herdabilidade ao nível individual foram maiores para altura (0,32, 0,01, 0,25 e 0,39) em relação ao DAP (0,13, 0,01, 0,02 e 0,02) ...
Abstract: Guapuruvu Schizolobium parahyba (Vell.) S.F. Blake is a species of rapid growth belonging to the Family Fabaceae (Leguminosae), highly important for restoration programs. Aiming to verify the genetic variability of S. parayba progenies from Botucatu region, SP, Brazil, we estimate quantitative genetic parameters of 10 different provenances. Seedlings were done in nursery of Department of Forest Science (DCF) - São Paulo State University (UNESP) - Botucatu, São Paulo, Brazil. The open pollinated progeny trial was set up in Lageado Experimental Station of São Paulo State University (UNESP) - Botucatu through statistical design of randomized blocks, with 60 progenies, three replications, four plants per linear plots, and by 3 x 2 m of plant spacing. The studied traits were diameter of breast height (Dbh) and plant height (H) for four ages: 02, 07, 14, and 20 months old, and for plant survival we only studied by the 20 months old. Data were analyzed though Selegen-REML-BLUP software. In average, guapuruvu progenies by the 14 months old, reached 2.23 m of height and 2.96 m by the 20 months old, with 6.0 and 7.5 cm of Dbh, through 14 and 20 months old, respectively. Coefficients of individual genetic variation, genotypic variation among progenies, and relative variation have shown low genetic variability, and therefore, high environmental influence, even with coefficients of residual variation in acceptable levels from 12.8 to 21.1%. The presented coefficients are the typically occurrence by the polygenic traits, showing the necessity of use of recurrent selection in breeding programs. Heritability coefficients by the individual levels were higher for plant height (0.32, 0.01, 0.25, and 0.39) than Dbh (0.13, 0.01, 0.02, and 0.02) through the 02, 07, 14, and 20 months old, respectively. Similar values were found for additive heritability within progenies. Close results were obtained for heritability ...
Mestre
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Picón, Bruno Daniela. "Recepción de William Blake : desde su público contemporáneo hasta el Surrealismo." Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/285267.
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En esta investigación exploramos la historia de la recepción del poeta, artista y visionario inglés William Blake (1757-1827), indagando en los diversos aspectos de la concreción de su obra en su propio tiempo, a través del siglo XIX y las primeras décadas del siglo XX. A partir de una perspectiva metodológica comparada e interdisciplinaria, este estudio considera los contextos críticos y artísticos en los cuales el foco en la dimensión visionaria de la figura y/o la obra de Blake se hace particularmente relevante. Hemos atendido a los aspectos específicos de su recepción crítica y artística en la obra de los simbolistas ingleses y franceses del siglo XIX (particularmente en la obra de Odilon Redon); en el Círculo de Eranos y la psicología profunda a comienzos del XX (C. G. Jung: El Libro Rojo); y finalmente en algunas figuras destacadas del Surrealismo (específicamente en el grupo cercano al Atelier 17 y Max Ernst).In this research we explore the history of the reception of the English poet, artist and visionary William Blake (1757-1827), considering the various aspects of the reception of his works in his own times, through the 19th century and the early decades of the 20th century. From a comparative and interdisciplinary methodological perspective, this study considers both the artists and the critical contexts in which the focus in the visionary dimension of the figure and / or the work of Blake were particularly relevant. We have attended to the specific critical and artistic aspects of his reception in the works of the English and French Symbolists in the nineteenth century (particularly in Odilon Redon's work); in the Eranos Circle and depth psychology of the early twentieth century (C. G. Jung: The Red Book), and finally in some of the important figures of Surrealism (specifically in the group close to the Atelier 17 and in Max Ernst).