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1
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
2
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.
3
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
5
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
6
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.
7
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 y 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.
11
Roxborough, David. ""Futurity is in this moment" : millennial prophecy and Blake's Bible of hell". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33313.
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The social atmosphere in England at the end of the eighteenth century abounded with visions of new heavens and new earths propagated by political and religious writers. To some, the French Revolution was incontrovertible evidence that the Day of Judgement was near, and that the end of the century would coincide with the end of time. To others, elaborate mathematical calculations produced the same conclusion. Many writers became self-proclaimed prophets who depicted new revelation of the future in detail, and their audience became a culture of anticipation who eagerly awaited the fruition of prophecy and the descent of the New Jerusalem. William Blake was at once related and opposed to this Literature of Anticipation. The collection of illuminated texts known as his "Bible of Hell" adopts the familiar form of prophecy, but acerbically criticizes the action---or inaction---of Blake's contemporaries, and seriously questions the foundation of Christian theology and the beneficence of the Christian God. What emerges from Blake's Bible is a concept of prophecy that stresses an immediacy of vision in sharp contrast with the fruitless waiting of millennialist prophets, and an internal locus of responsibility that dissolves all ties to tyrannical authority.
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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"
13
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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Alves, Andrea Lima. "Oposição e verdadeira amizade : imagem poetica e pictorica no livro O matrimonio do ceu e do inferno de William Blake". [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270268.
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Orientador: Luiz Carlos da Silva DantasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Averiguar o caráter da interação entre ilustrações e texto literário no livro O Matrimônio do Céu e do Inferno de William Blake constituiu o principal intuito da presente dissertação de mestrado. Para que tal intento fosse alcançado fez-se necessário uma análise detalhada da obra: buscou-se a literatura crítica sobre esta, livros e artigos de especialistas americanos e ingleses dos quais pode-se afirmar serem quase que a totalidade daqueles existentes até o presente momento. A primeira parte do estudo é dedicada a essa tarefa por se tratar de um livro muito significativo dentro do conjunto da obra literária de Blake (toda ela ilustrada pelo próprio artista), considerado unanimemente pela crítica como a melhor introdução para o complexo universo blakeano - visto o artista inglês ter criado uma cosmogonia e mitologia peculiares, de difícil acesso a seus leitores. Apesar de O Matrimônio não apresentar referências explícitas a essa mitologia por ser um de seus primeiros livros, nele já estão presentes as principais idéias e a estética que marcaria toda sua obra. A segunda parte da dissertação contém uma apresentação sucinta das reflexões teóricas ocidentais sobre arte que se valeram da comparação entre a pintura e a poesia, utilizanda-a como fio condutor para a exposição das características dessas duas linguagens na "arte composta" criada por Blake
Abstract: The present dissertation inquires into the nature of the relationship between text and illustration in William Blake's The Marriage of Heaven and Hell. In order to realise this it was necessary to do a minute analysis of the work, based almost entirely on books and articles of american and english experts written up until now. The first part of the study is dedicated to this task because this book of Blake's is very significant within his literary work (all of it illustrated by himself). It is thought of as the best introduction to the complex blakean universe, in which the artist created a particular cosmogony and mythology. Although The Marriage does not present an explicit allusion to this mythology, being one of his first books, it already presents the main ideas and the aesthetic that will mark the rest of his work. The second part of the dissertation includes a brief presentation of the theoretical reflections on art by comparing picture and poetry (the ut pictura poesis tradition). This study is then used as a guide to explore the two languages characteristic in the "composite art" created by Blake
Mestrado
Mestre em Teoria e História Literária
15
Soriya, Anya. "Le même et l’autre dans les œuvres de William Blake et de Friedrich Hölderlin : la folie et la prophétie". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040201.
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Depuis Platon, la métaphysique est empreinte de la valorisation hiérarchique entre la pensée rationnelle du logos et la pensée esthétique et relationnelle du mythos, par laquelle l’absolu et l’éternel ne peuvent être réellement connus que par le logos. Le mythos, sous-tendant les écrits sacrés et mythologiques, devient l’autre de la raison, relégué dans le domaine de l’irrationnel, voire, de la folie. La hiérarchie de valeurs, fermement établie après le progrès des lumières, crée une division au sein de l’individu qui forme la blessure au cœur de l’imaginaire occidental. C’est cette blessure que la poésie prophétique de William Blake et Friedrich Hölderlin, taxés de folie, cherche à guérir en dépeignant une manière de voir pour surmonter cet état divisé ainsi que la pensée strictement représentative et déterminante qui l’aggrave. Blake et Hölderlin s’efforcent de transformer l’imaginaire collectif issu des mythes qui ont un rôle majeur dans la formation de la perception de l’homme occidental et dont les interprétations ont servi à inculquer la vision de l’être divisé. Ils déforment et remodèlent les images mythiques et métaphoriques des concepts ontologiques devenues figées dans les traditions grecques et judéo-chrétiennes afin de rétablir l’unité de l’homme, mission prophétique qui implique la transformation de la connaissance fixe en reconnaissance active, créant la possibilité de faire évoluer la conscience individuelle et, à son tour, la conscience collectiveFrom the time of Plato, metaphysics has been marked by the hierarchical relationship which privileges the rational mode of thought of logos over that of the aesthetic and relational mode of mythos, whereby the absolute and the eternal are only knowable through logos. Mythos, underpinning sacred and mythological texts, becomes the other of reason, relegated to the domain of the irrational and even to that of madness. This hierarchy, firmly established after the progress of the Enlightenment, creates a division within the individual that forms the wound at the heart of the occidental imagination. It is this wound that the prophetic poetry of William Blake and Friedrich Hölderlin, both thought to be mad, seeks to heal by depicting a way of seeing in order to overcome this divided state as well as the strictly representative and determinative thinking which deepens it. Blake and Hölderlin strive to transform this perception of the individual which is reinforced by the myths that form the collective imagination, the interpretations of which have inculcated the view of the divided self. The two poets reimagine and recreate the mythical and metaphorical images of ontological concepts which have become solidified in the Greek and Judeo-Christian traditions in order to reestablish the unity of the individual, a prophetic mission that implies the transformation of fixed knowledge into active recognition, creating the possibility for the evolution of the individual and, in turn, collective conscience
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Montoya, Gálvez Natalia. "Poetic intimacy: poet and reader : the exploration of prophetic voice in Blake and Whitman". Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137771.
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Nuckels, Rosa Turner. "Visions of Light In the Poetry of William Blake and Emily Dickinson". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279349/.
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In this study the author compares the broad outlines of Blake's and Dickinson's thought, pointing out evidence of decisive Biblical influence not only on the content of their thought but on their attitude toward language as well. the author argues that both poets assumed the philosophical position of Job as they interpreted the Bible independently and as they explored many dimensions of experience in the fallen world. The author represents their thought not as a fixed system but as a faith-based pattern of Christian/Platonic questing for truth.
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Alves, Andrea Lima. "A interação entre texto e ilustrações nos illuminated books de William Blake pelo prisma da obra America, a Prophecy". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270271.
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Orientador: Luiz Carlos da Silva DantasTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A presente tese buscou averiguar a maneira pela qual texto e ilustração se relacionam nos illuminated books de William Blake, o conjunto de livros escritos e ilustrados pelo próprio artista, principalmente através de uma dessas obras, America, a Prophecy. Apesar de me voltar mais detalhadamente para apenas um de seus livros busquei pelo modo que em geral tal diálogo entre texto e imagens pictóricas se dá em sua obra como um todo, como se atesta em um dos capítulos onde procurei evidenciar as características mais essenciais das linguagens verbal e visual nesse tipo de arte composta criada pelo artista. Estudos que se voltem para essa questão são necessários uma vez que a qualidade das ilustrações de Blake é altamente alegórica e nada óbvia: elas nunca interagem com o texto que ilustram de maneira direta ou indicial apresentando uma cena, situação ou personagem exatamente como aparecem no texto; pelo contrário, geralmente as cenas representadas em suas ilustrações trazem situações e personagens sequer mencionados no texto, demandando do espectador a procura pela analogia possível com o texto a que pertencem para que sua interpretação seja bem lograda. Por causa desse caráter indireto de sua linguagem visual (característica também essencial de sua linguagem verbal) há na presente tese uma discussão sobre os conceitos de símbolo e de alegoria no contexto da obra blakeana
Abstract: This dissertation looks at the nature of the relationship between text and illustration in the illuminated books of William Blake, the set of works written and illustrated by the artist himself, mainly through one of these books, America, a Prophecy. Although attention was focused mainly on only one book, the author searched for the general way in which such a dialogue between text and pictures relate to each other in his work as a whole, as can be attested by one of the chapters where the essential features of both languages in this kind of composite art created by the artist, verbal and visual, are examined. Studies that investigate this question are necessary as the quality of Blake's illustrations is highly allegorical and not obvious at all: they never interact with the text that they illustrate in a direct or indicative way, such as presenting a scene, situation or characters exactly as they appear in the text; the opposite is usually true: the scenes represented in his illustrations contain situations and characters that were not even mentioned in the text, and by so doing they require the reader to search for the possible analogy with the text to which they belong in order to make an attempt at interpretation. This is why the dissertation at hand also presents a discussion of the concepts of symbolism and allegory in the context of Blake's work
Doutorado
Literatura Geral e Comparada
Doutor em Teoria e História Literária
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Zinter, Erik Andrew. "The Tyger and the Lamb: Exploring the Relationship Between Text and Music in Selected Contemporary Choral Settings of Two Poems by William Blake (1757-1827)". Diss., North Dakota State University, 2015. https://hdl.handle.net/10365/27616.
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Texts have been influencing composers of choral music for centuries. Some
composers manipulate the text through the use of form and compositional technique,
whereas others rely on highlighting specific words. Still others work to convey emotions
or to conjure aural images for the listener. Expressive poetry, such as The Tyger and The
Lamb, two poems by William Blake (1757-1827), has inspired several composers to set
these texts to music, among them John Tavener (1944-2013), Ren? Clausen (b. 1953),
and Andrew Miller (b. 1983). This dissertation focuses on the choral settings of Blake?s
The Tyger and The Lamb by these three composers. It offers an understanding of their
compositional thought processes, a key element for the interpretation and performance of
these works. It is only through careful consideration of these thought processes that
choral conductors can ensure an informed performance of this literature.
This study draws on interviews I have conducted with Ren? Clausen and Andrew
Miller, as well as on other scholars? interviews with the late John Tavener. Furthermore, I
have analyzed the compositional style and updated previous research on each of the
composers. Each composer sets Blake?s texts in a different manner, however all
approached the compositional process through the lens of imagery. Clausen?s, Miller?s,
and Tavener?s compositional techniques create aural images and, in doing so, rely
entirely upon their musical backgrounds and belief systems. In Clausen?s settings of The
Tyger and The Lamb, he colors the melodic, harmonic, and textural material to reflect the
nuances of each animal. For Tavener, his Orthodox faith guides his settings with the
chant-like melody, ison, and use of canon, retrograde, and inversion. For Miller, he
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highlights the emotion in the music to demonstrate the ?core? meaning of the poetry.
Observing these three contemporary composers setting the same texts in different styles
offers a glimpse into their creative process and gives conductors critical information for
performance.
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Vallor, Honor Penelope. "How Gothic Influences and Eidetic Imagery in Eight Color Plates and Key Poems by William Blake Figuratively Unite Body and Soul by Dramatizing the Visionary Imagination". PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4659.
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A study of Gothic influences and eidetic imagery evident in eight Blake color plates to demonstrate that, when interpreted together with key Blake poems, unity of body and soul can be accomplished by means of the visionary imagination.
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Youansamouth, Edward. "'Two congenial beings of another sphere' : Peter Sterry as a theological precursor to William Blake". Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:4e5b37ea-be6c-4397-8ebc-aeb6dde63d82.
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This thesis seeks to explicate, and develop an appropriate method for the elucidation of, the antecedents to the theology of William Blake in the writings of the seventeenth-century divine, Peter Sterry (1613-1672). While the radical religious scene of the English Revolution has long been recognised as offering important antecedents to Blake's thought, Sterry is a figure who has largely been overlooked. The exception to this is an essay, published in 1929, in which Vivian de Sola Pinto asserted the existence of 'startling affinities' between their ideas. Pinto's study was, however, limited by its failure to consider, firstly, the implications of its findings for our general understanding of the antecedents to Blake's thought in the seventeenth century and, secondly, the insight Sterry's writings may be able to offer into Blake's theological vision. These are the very questions at the heart of this dissertation. By addressing them, it seeks to shed new light on the nature of Blake's theology and its anticipations in earlier English thought. Given the lack of evidence that Blake read Sterry, and the limited effectiveness of the 'genealogical' method when it comes to Blake, it pioneers a bespoke 'analogical' method for the exploration of these issues. It proposes that Sterry is actually closer to the intellectual milieu of Commonwealth radicalism than one might expect and that his writings function effectively as a lens through which it is possible to discern how Blake consistently uses 'dualistic' language and imagery in an ethical and epistemological sense. The first finding suggests that the established view of the radical religious environment in Blake studies needs to be extended; the second challenges the widespread perception that Blake's thought is ultimately dualistic in an ontological sense, thus contributing to the elucidation of a perennial problem for Blake scholarship. Together, they underline Sterry's importance as a neglected theological precursor to the thought of William Blake.
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Hoffmann, Deborah. "The spirit of sound prosodic method in the poetry of William Blake, W.B. Yeats, and T. S. Eliot". Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115657.
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Accompanying materials housed with archival copy.This project focuses on the prosody of three major poets, William Blake, W. B. Yeats, and T. S. Eliot. It explores the relationship between each poet's poetic sound structures and his spiritual aims. The project argues that in Blake's prophetic poems The Four Zoas, Milton, and Jerusalem, in Yeats's middle and late poetry, and in Eliot's post-conversion poetry, the careful structuring of the non-semantic features of language serves to model a process through which one may arrive at the threshold of a spiritual reality.
The introductory chapter situates these poets' works within the genre of mystical writing; establishes the epistemological nature of poetic sound and its relationship to mystical expression; considers the historical and personal exigencies that influence each poet's prosodic choices; and outlines the prosodic method by which their poetry is scanned. Chapter one addresses William Blake's efforts to re-vision Milton's Christian epic Paradise Lost by means of a logaoedic prosody intended to move the reader from a rational to a spiritual perception of the self and the world. Chapter two considers the development of W.B. Yeats's contrapuntal prosody as integral to his attempt to make of himself a modern poet and to his antithetical mystical philosophy. Chapter three explores the liminal prosody of T. S. Eliot by which he creates an incantatory movement that points to a spiritual reality behind material reality. The project concludes with a consideration of the spiritual aims of Gerard Manley Hopkins and H.D. (Hilda Doolittle) and posits a revaluation of Hopkins' sprung rhythm and H.D.'s revisionary chain of sound as prosodic practices intrinsic to their spiritual aims.
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Singh, Jyoti. "The presentation of the orphan child in eighteenth and early nineteenth century English literature in a selection of William Blake's 'Songs of innocence and experience', and in Charlotte Brontë's 'Jane Eyre', and Emily Brontë's 'Wuthering Heights'". Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1005628.
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This thesis is a study of the presentation of the orphan child in eighteenth and early nineteenth century English literature, and focuses on William Blake's Songs of Innocence and Experience, Charlotte Bronte's Jane Eyre, and Emily Bronte's Wuthering Heights. It is concerned with assessing the extent to which the orphan children in each of the works are liberated from familial and social constraints and structures and to what end. Chapter One examines the major thematic concern of the extent to which the motif of the orphan child represents a wronged innocent, and whether this symbol can also, or alternatively, be presented as a revolutionary force that challenges society's status quo in Blake's Songs of Innocence and Experience. Chapter Two considers the significance of the child "lost" and "found", which forms the explicit subject of six of Blake's Songs of Innocence and Experience and explores the treatment of these conditions, and their differences and consequences for the children concerned. Chapter Three focuses on Charlotte Bronte's depiction of the orphan in Jane Eyre, which presents two models of the orphan child: the protagonist Jane, and Helen Burns. The chapter examines these two models and their responses to orphan-hood in a hostile world where orphans are mistreated by family and society alike. Chapter Four determines whether the orphan constitutes a subversive threat to the family in Emily Bronte's Wuthering Heights and also explores the notion that, although orphan-hood often entails liberation from adult guardians, it also comprises vulnerability and exposure. The thesis concludes by considering the extent to which orphan-hood can involve a form of liberation from the confines of social structures, and what this liberation constitutes for each of the three authors.
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Barra, van Treek Erika de la. "Desterritorialización y reterritorialización de Tyger de Blake y Nightingale de Keats en la obra de Jorge Luis Borges: ¿diálogo interdiscursivo e intercultural entre el romanticismo inglés y la Argentina postmoderna?" Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/109054.
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Tesis para optar al grado de Doctor en Literatura Hispanoamericana y ChilenaComo es sabido y Borges (1899-1986) mismo lo señala, pasó su niñez “detrás de una verja con lanzas, y en una biblioteca de ilimitados libros ingleses. Palermo del cuchillo y de la guitarra andaba (me aseguran) por las esquinas” Esta pequeña cita instala una problemática no menor en su obra y que contiene la relación siempre en tensión entre Latinoamérica (periferia) y Europa (centro). La investigación examina especialmente el diálogo interdiscursivo e intercultural entre Borges y dos románticos ingleses: William Blake (1757-1827) y John Keats (1795-1821) a través de la desterritorialización de Tyger y Nightingale del contexto romántico inglés decimonónico y su reterritorialización en la Argentina borgeana moderna / postmoderna del siglo XX. Metodológicamente, se ha realizado un análisis del poema “The Tyger” de Blake y del poema “Ode to a Nightingale” de Keats para dilucidar su significación o significaciones románticas. Posteriormente se ha examinado la obra ensayística, cuentística, lírica de Borges en búsqueda de los significados que él atribuye a tyger y nightingale descubriéndose una polisemia compleja otorgada por sus acercamientos serios o jocosos. En otras palabras, Borges desestabiliza la relación significante /significado de tyger y nightingale y su contexto romántico. Tanto tyger como nightingale diseminan rizomáticamente por la obra de Borges a través de los principios de conexión y heterogeneidad que permiten unirlos a nuevos significados diversos sin que se llegue jamás a un significado definitivo. Borges instalaría una postergación infinita del significado que asemeja un deslizamiento, un rodar, un nomadismo con múltiples entradas y salidas entre los discursos involucrados. (Kristeva, 1980; Derrida, 1975; Deleuze/Guattari, 1997; Barthes, 1974). Aunque la investigación se encuentra aún en progreso, la recodificación que hace Borges de los significantes románticos ingleses tyger y nightingale parece tener importantes implicancias desde la perspectiva del postcolonialismo, ya que el juego literario conducido por Borges establece una relación de paridad con el centro que cuestiona la sujeción periférica de América Latina al centro Europeo.
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Corrêa, Amanda Lauschner. "In praise of movement : embodiment of The Marriage of Heaven and Hell". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172925.
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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.
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Douglas, Carla. "Image and poetry in selected early works of William Blake: producing a third text". Thesis, 2013. http://hdl.handle.net/10539/12678.
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Thesis (M.A. (Masters by dissertation))--University of the Witwatersrand, Faculty of Humanities, 2012.This study is concerned with the relationship between images and poetry in the early illuminated books of William Blake. It seeks to explore the generative production of meaning which arises from the interaction of these different aesthetic modalities. Such meanings are investigated through the notion of a “Third Text”, which has been adapted from the thought of Stephen Behrendt (“‘Something in my Eye’: Irritants in Blake’s Illuminated Texts”). The Third Text arises from the interaction of images and texts, but is identical to neither alone, nor is it constituted by the sum of the contributing parts. The interactions of image and text are further elucidated through the application of selected poststructuralist theories, drawn from the writing of Jacques Derrida and Roland Barthes. Notions of the Text, différance, the supplement and spectrality are central to the argument. An interaction is established between Blake’s illuminated books and the chosen poststructuralist constructs in order to recognise the singularity of the verbal and visual material considered. An interrelated component of this study is a reflection on the ways in which Blake breaks the conceptual frames of image and text in his illuminated books, thus challenging a range of established models. Particular attention is paid to the early illuminated books, Songs of Innocence and of Experience and America a Prophecy. Key concerns of this study include the ways in which Songs challenges the boundaries between innocence and experience and the exploration of prophetic vision in America. The dissertation concludes by emphasising the importance of preserving an infinite relation of image to text, both in Blake studies and more broadly in the analysis of image-text
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Lourenço, Isabel Maria Graça. "The WiIliam Blake Archive: da gravura iluminada à edição electrónica". Doctoral thesis, 2009. http://hdl.handle.net/10316/12069.
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Tese de doutoramento em Letras, área de Línguas e Literaturas Modernas (Literatura Inglesa), apresentada à Fac. de Letras da Univ. de CoimbraThe William Blake Archive: Da Gravura Iluminada à Edição Electrónica parte da análise do modo de produção da impressão iluminada criado por William Blake para demonstrar a forma como esse método e a materialidade do meio integram o significado da iluminura. Descreve-se em seguida a história da edição impressa da obra de William Blake nos séculos XIX e XX, reflectindo-se sobre a forma como a imagem biográfica e da obra foi construída pelos dispositivos tecnológicos e institucionais que separam imagem e texto. A amputação da página iluminada pela eliminação da imagem resultou numa recodificação bibliográfica, da qual dependeu a disseminação e canonização da sua obra. Esta história editorial da obra blakiana é enquadrada na história dos métodos e teorias da edição, incluindo a problemática da edição electrónica, essencial para a compreensão das práticas actuais. The William Blake Archive, um arquivo em construção desde 1996, institui um novo modelo editorial, que permite reunir as vertentes pictórica e verbal da página iluminada, na sua singularidade e na sua multiplicidade. A recuperação da integridade visual do objecto através do fac-símile digital assinala a conjunção entre um novo paradigma editorial e um novo contexto tecnológico. A análise da edição electrónica revela a função da estrutura hipertextual, da interface gráfica, da marcação textual e da codificação das imagens na simulação da materialidade e da historicidade do livro impresso iluminado. Pela sua capacidade de simulação documental, de metatextualidade crítica e de acumulação de ficheiros, este arquivo digital cria um novo contexto metodológico e científico para o estudo da obra de William Blake
The William Blake Archive: Da Gravura Iluminada à Edição Electrónica starts from a detailed analysis of “Illuminated Printing”, the method created by William Blake to produce illuminated books. This approach aims to prove that the specificity and the materiality of the medium and of the method of production contribute to the meaning of the illuminated prints. The specific materiality of the illuminated print led to the editorial separation of verbal-component from pictorial-component in printed editions. Nineteenthand twentieth-century printed editions of Blake’s works are examined as a bibliographic recoding which helped to disseminate and canonize both author and work. This editorial history is placed in the context of methods and theories for critical editing. Electronical textual edition, which is essential to understand current editorial practices, is also considered. The William Blake Archive, a work in progress since 1996, provides digital facsimiles of the illuminated books. The Archive reunites the verbal and pictorial components of the plate, and simulates the integrity of the illuminated printed plate by displaying both the singularity and the multiplicity of the copies of different books. This electronic edition represents the conjunction of a new editorial paradigm and a new technological situation. Graphic user interface, hypertext structure, image encoding and textual markup are analysed as part of that editorial simulation. The ability of this digital archive to retrieve, simulate and display different types of documents in a metatextual critical environment is changing the way scholars read, examine and study the work of William Blake
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Otto, Peter (Peter John). "Constructive vision and visionary deconstruction : Los, eternity and the production of time in the later poetry of William Blake / by Peter Otto". 1985. http://hdl.handle.net/2440/20358.
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Bibliography: leaves [581]-591xi, 591 leaves ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1985
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Otto, Peter (Peter John). "Constructive vision and visionary deconstruction : Los, eternity and the productions of time in the later poetry of William Blake / by Peter Otto". Thesis, 1985. http://hdl.handle.net/2440/20358.
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Barrelas, João Paulo Faquim. "O autor segundo William Blake: dois exemplos de The marriage of Heaven and Hell". Master's thesis, 2013. http://hdl.handle.net/10451/9378.
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Hood, Margaret Anne. "The pleasant charge : William Blake's multiple roles for women". 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phh777.pdf.
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Pierce, Robyn. "Consciousness embodied: language and the imagination in the communal world of William Blake". Thesis, 2014. http://hdl.handle.net/10539/15280.
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This dissertation examines the philosophical and spiritual beliefs that underpin William Blake’s account of the imagination, his objections to empiricism and his understanding of poetic language.
It begins by considering these beliefs in relation to the idealist principles of George Berkeley as a means of illustrating Blake’s own objections to the empiricism of John Locke. The philosophies of Locke and Berkeley were popular in Blake’s society and their philosophical positions were well known to him. Blake and Berkeley are aligned against Locke’s belief in an objective world composed of matter, and his theory of abstract ideas. Both reject Locke’s principles by affirming the primacy of the perceiving subject. However, Blake disagrees with Berkeley’s theologically traditional understanding of God. He views perception as an act of artistic creation and believes that spiritual divinity is contained within and is intrinsic to man’s human form.
This account of human perception as the creative act of an immanent divinity is further elucidated through a comparison with the twentieth-century existential phenomenology of Maurice Merleau-Ponty. In the Phenomenology of Perception (1945), Merleau-Ponty examines human experience as the functioning of an embodied consciousness in a shared life-world. While Merleau-Ponty
does not make any reference to a spiritual deity, his understanding of experience offers a link between Berkeley’s criticisms of Locke and Blake’s own objections to empiricism. Through a comparative examination of Blake and Merleau-Ponty, the imagination is revealed to be the creative or formative consciousness that proceeds from the integrated mind-body complex of the “Divine Body” or “human form divine”. This embodied existence locates the perceiving self in a dynamic physical landscape that is shared with other embodied consciousnesses. It is this communal or intersubjective interaction between self and other that constitutes the experienced world. Merleau-Ponty’s account of the chiasm and his notion of flesh, discussed in The Visible and the Invisible, are applied to Blake in order to elucidate his belief in poetic vision and the constitutive power of language. The form and function of language are compared with that of the body, because both bring the individual experience of a perceiving subject into being in the world and facilitate the reciprocal exchange between the self and other. Ultimately, this dissertation
argues that Blake characterises the body and language as the living media of the imagination, which facilitate a creative exchange between a perceiving self and a shared life-world.
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Fadigas, Maria de Jesús da Palma 1974. "Dez garrafas e um livro". Master's thesis, 2018. http://hdl.handle.net/10451/34046.
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This dissertation sets out to analyse the creation of an artist's book inspired by the work of literature Os Lusíadas, by Luís Vaz de Camões. The main aim of this paper is to look into this work of classic literature as a starting point and analyse it from the perspective of a semiotic significance and not just to explore it as a mere collection of printed pages in order to understand the limits of the creation of a book as a form of artistic expression, with regards to its techniques and materials used, as well as its shape and format, or even from a conceptual standpoint. The objective is to examine the book as a semiotic sign, its signified and signifier, its connotation and denotation and not just as a mere set of printed pages sewn and bound and ready to be run through by readers who may try to decode and interpret it. In the first three chapters I put forward some concepts and notions which are relevant to this dissertation such as artists' books, sign and narrative as well as the thoughts and opinions of some authors who sought to interpret and understand the book as a means of artistic expression with its own identity and autonomy. In the fourth and final chapter I describe the development and production process of an artist's book based on the work of Os Lusíadas which makes up the practical component of this work which is composed of 10 message in bottles, which I called Ten Bottles and a Book. The practical component does not intend to reproduce or re-publish the entire works of Camões or its content, but rather it seeks out to create a significant object that arouses the imagination and sensitivity of the reader/receiver and at the same time be seen as a book, exploring the idea of narrative as a succession of events, actions within a space and time frame and which represents the essence of each of the 10 poems (cantos) that make up the original book. This is why I used the analogy of the 10 bottles, which is a reference to the messages tossed to sea by shipwrecked castaways.The option I've used for the dual 'bottle/message' is also a reference to the possibility (either fact of myth) that Os Lusíadas might have been salvaged from a shipwreck, according to Feliciano Ramos, in 'Historia da Literatura Portuguesa: «The poem Os Lusíadas that the poet was carrying with him was salvaged from the sea, but it did get wet.»
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Coetzee, Michelle. "The artist as a visionary : a consideration of Jackson Pollock, Joseph Beuys and Jackson Hlungwani as visionary artists". Thesis, 1996. http://hdl.handle.net/10413/5984.
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This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary.Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.