William blake book he have published thesis
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1
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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Wells, David. "A study of William Blake's letters /." Tübingen : Stauffenburg-Verl, 1987. http://catalogue.bnf.fr/ark:/12148/cb36651920m.
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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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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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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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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.APA, Harvard, Vancouver, ISO, and other styles
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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.APA, Harvard, Vancouver, ISO, and other styles
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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.APA, Harvard, Vancouver, ISO, and other styles
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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.APA, Harvard, Vancouver, ISO, and other styles
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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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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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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.APA, Harvard, Vancouver, ISO, and other styles
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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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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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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"APA, Harvard, Vancouver, ISO, and other styles
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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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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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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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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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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.APA, Harvard, Vancouver, ISO, and other styles
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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.APA, Harvard, Vancouver, ISO, and other styles
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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.APA, Harvard, Vancouver, ISO, and other styles
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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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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.APA, Harvard, Vancouver, ISO, and other styles
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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.APA, Harvard, Vancouver, ISO, and other styles
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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.APA, Harvard, Vancouver, ISO, and other styles
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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.APA, Harvard, Vancouver, ISO, and other styles
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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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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).
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Haggarty, Sarah. "What is the price of experience? : William Blake and gift relationships." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614048.
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Mauger, Matthew. "Prophetic legislation : William Blake and the visionary poetry of the law." Thesis, Queen Mary, University of London, 2005. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1818.
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This dissertation examines the meaning of law in Blake's work. I argue that Blake's poetry intersects with contemporaneous challenges to the traditional model of the ancient constitution, a debate which I present as a conflict between custom and code. Blake's support for the French Revolution's overthrow of the customary systems of the ancien regime is countered by his nervousness about the rights-based discourse advanced by leading radical intellectuals such as Thomas Paine, a belief that the new systems which they proposed merely re-stated those which they sought to replace within an even narrower compass. Law is also a contested ground within radical political discourse of this period; although the dominant proposals advocated the enshrinement of fundamental rights and the codification of law, there was also a tendency towards a more enthusiastic radicalism These millenarian groups, emerging from antinomian heresy, rejected the notion of life being framed within a set of moral laws. I argue that Blake cannot easily be placed in either group; his work exhibits a fidelity to the redemptive potential of law, coupled with a real concern that to define freedoms in legal terms serves to limit rather than to liberate. Blake's work thus engages with a problem of the period: how to understand the new discourses of law. The customary account of the ancient English conunon law is predicated on the idea that it is codified, yet not written down; secular, though grounded in divine principle. These ambivalences are exploited by Blake in his poetic exploration of the law in the 1790s. In his nineteenth-century epics, Blake finds increasing help in dissenting religion's reconstruction of a radicalized Jesus. Through this radical prophetic voice, Blake is able to construct a redemptive legality founded on a deinstitutio-nalized Christianity, a constitutionalism that is also recovered from the conventional customary account.APA, Harvard, Vancouver, ISO, and other styles
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Yates, M. T. "Illuminated instruction : a paratextual, intertextual, and iconotextual study of William Blake." Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31967/.
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Traditional Blake scholarship has rarely ascribed value to the materiality of William Blake’s illuminated manuscripts. My on-going PhD project aims to demonstrate the necessity of studying the materiality of Blake’s texts by using an interdisciplinary methodological framework to highlight the pedagogical functions of illuminated printing. Exploring the composition, printing, and distribution of Blake’s prints in a series of focussed micro-histories and paratextual micro-studies has helped the project to identify the various ways in which Blake manipulated his media to educate his readers. In unravelling the pedagogical potential of Blake’s works, the project promotes an understanding of a material medium which has remained largely unexplored in terms of its print culture contexts, revealing how Blake’s unique position as an engraver, artisan, and educator was hinged upon the materiality of his prints.APA, Harvard, Vancouver, ISO, and other styles
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Silva, Jackson Leocadio da. "A Bíblia do Inferno de William Blake: visão como força imaginativa." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/4480.
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A presente dissertação tem como objetivo central a compreensão da estética particular da obra de William Blake (1757 – 1827), caracterizada por uma combinação de visualidade e discurso místico. Como Blake era um poeta-gravurista, o casamento entre texto e imagem é o aspecto mais notável das páginas que compunha através da sua técnica peculiar de impressão. As devidas análises serão feitas a partir de uma determinada seleção de obras compostas pelo poeta, levando-se em conta a sua filosofia particular, estabelecida em O casamento do céu e do inferno (1790), e a sua própria mitologia, cuja amostra é representada por uma tríade de poemas que podemos chamar de ―os livros de Urizen‖: O primeiro livro de Urizen (1794), O livro de Ahania (1795) e O livro de Los (1795). Serão analisadas não apenas passagens de seus poemas, mas também determinadas imagens destacadas desses poemas, tanto na categoria das ilustrações quanto na categoria das iluminuras. As discussões teóricas abordarão os seguintes tópicos: a noção de profecia como gênero literário, a relação entre o discurso blakiano e as heresias gnósticas, as particularidades da iconofilia blakiana, a tensão entre monismos e dualismos na obra de Blake, assim como a filiação do poeta à tradição dos pensadores místicos e sua relação com a própria tradição literária. O eixo conceitual em torno do qual se desenvolve esta dissertação está na chamada Bíblia do Inferno, ideia satírica que o poeta-gravurista concebeu como um símbolo estético de sua própria postura em relação aos moralismos religiosos.
The central goal of the present dissertation is to understand the particular aesthetics of the works composed by William Blake (1757 – 1827), characterized by a combination of visuality and mystical discourse. As Blake was a poet-engraver, the marriage of text and image is the most remarkable aspect of the pages he composed through his peculiar printing technique. The proper analyses will be carried out from a specific selection of Blake‘s works, considering his particular philosophy, established in The Marriage of Heaven and Hell (1790), and his own mythology, whose sample is represented by a trio of poems that we can call ―the books of Urizen‖: The First Book of Urizen (1794), The Book of Ahania (1795) and The Book of Los (1795). Not only passages from his poems will be analyzed, but also specific images from these poems will be examined, both illustrations and illuminations. The theoretical discussion will approach the following topics: the notion of prophecy as a literary genre, the relationship between the Blakean discourse and the Gnostic heresies, the particularities of the Blakean iconophilia, the tension between monism and dualism in Blake‘s work, as well as the affiliation of the poet to the tradition of mystical thinkers and his relation to the literary tradition itself. The conceptual axis around which this dissertation will be developed is the so-called Bible of Hell, a satirical idea conceived by the poet-engraver as an aesthetic symbol of his own posture towards the religious morality.
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Bouchet, Claire. "Les métaphores dans la poésie de William Blake : enjeux de traduction." Paris 3, 2004. http://www.theses.fr/2004PA030125.
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Cette étude a pour objet de montrer, mesurer et qualifier l’apport d’une approche traductive à l’herméneutique littéraire. Le champ d’étude est circonscrit à la figure particulière de la métaphore, au sein de cette partie de l’œuvre poétique de William Blake que l’on appelle les Livres Prophétiques, et à travers quatre de leurs traductions. Le repérage des références extra-textuelles, le décodage des réseaux intratextuels, l’analyse des choix de traduction selon les contraintes de la sémantique, de la syntaxe ou de la morphologie, tant de la langue de départ que de la langue d’arrivée et l’analyse des spécificités de l’écriture poétique contribuent à montrer que la traduction est une activité créatrice qui se fonde sur un travail de lecture spécifique et qui fait du traducteur un critique littéraire, un révélateur du style de l’auteur et un créateur d’œuvre littéraireThis study aims at probing, measuring and defining how the act of translating can contribute to literary analysis. It concentrates particularly on metaphors as they appear in four French translations of William Blake’s “Lambeth Books”. Translation is an activity which involves defining the cultural references of the work of art as well as the inner networks of imagery, and leads to making decisions in translating the text, according to the rules of semantics, syntax or morphology in both languages. Added to the analysis of the specificity of poetry writing, all these elements tend to show that translating is a creative activity based on a specific strategy of reading and which show how the translator is also a literary critic, the initiator into an author’s style and a creator of literary works
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Codsi, Stephanie. "Self-annihilation and creative labour in the poetry of William Blake." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682690.
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This thesis explores the implications of creative labour in Blake's use of the term 'self-annihilation'. It finds that the critical consensus of self-annihilation as forgiveness is insufficient, and argues that the figure of Los, through his continual building of Golgonooza, is central to the annihilation of selfhood. In Blake, creative labour is effected through the interdependence of inspiration and composition, and is evoked in Los's presence in the scenes of self-annihilation. Although inspiration is largely conceived of as a passive experience, foregrounded in Blake's statement in a,letter to Thomas Butts that the 'Authors' of Jerusalem 'are in Eternity', it operates as a necessary counterpart to the act of composition. Focusing mainly on The Four Zoas, Milton and Jerusalem, the thesis foregrounds the activity of creative labour through a contrast with various analogues of the passive self. Whilst the thrust of this thesis is upon creative labour, I also show how far the annihilation of selfhood occurs in Blake through prophecy, sex, and - to some extent - motherhood. These states or experiences are found to share similar imagery and concerns with creative self-annihilation: inspiration, rapture, possession and sacrifice all figure in analogous, albeit problematic ways.APA, Harvard, Vancouver, ISO, and other styles
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Roy, Anandamoy. "Poets of childhood:a study of William Blake and Rabindra Nath Tagore." Thesis, University of North Bengal, 2002. http://hdl.handle.net/123456789/1119.
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Drake, Dee. "Searing apparent surfaces : infernal females in four early works of William Blake." Doctoral thesis, Stockholms universitet, Engelska institutionen, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7553.
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This study explores the quality of the infernal as a specifically female expression of desire in William Blake's work. The contention is that the infernal constitutes an essential female element of the divine in Blake's early work but is demonized in the late work as an attribute of the Female Will. The devalorization of the infernal in relation to female desire has not previously been addressed by Blake critics. Therefore I initiate a critical dialogue with my mythological study of three female figures in the early work, each of whom displays infernal characteristics. Although Blake's illuminated books are unique inasmuch as they comprise a composite art with their intricate interplay of verbal and visual texts, most Blake critics focus primarily on the poems. I privilege the designs as a deliberate strategy of overcompensation for this literary bias. My exploration of "the infernal method" described in The Marriage of Heaven and Hell focuses on three particular designs that pictorialize the method's infernal quality in the form of a fiery female. I propose degrees of female desire on an infernal scale (the more restrained the desire, the less infernal the female) which are then examined in readings of The Book of Thel, Visions of the Daughters of Albion, and the color print Hecate. Beginning with Hecate as the most infernal of the three female figures, this study explores her mythological complexities as Goddess of the Limen, of the Dark Moon, and of the Underworld. Using the title page designs of Thel and Visions as points of departure, I demonstrate how the pictorial images work to lay bare the tangle of mythological roots underlying the poetic narratives that follow. Such roots provide perspectives from which to understand Thel's defiance of a system of female subordination to the male that Oothoon (protagonist of Visions) willingly embraces.APA, Harvard, Vancouver, ISO, and other styles
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Davidson, Ryan J. "Affinities of influence : exploring the relationship between Walt Whitman and William Blake." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5590/.
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This project explores the nature and extent of the relationship between Blake and Whitman. I examine their works to find affinities in tone, style and themes and seek to understand the origin of these affinities. The resultant discoveries, however, lead to the conclusion that, because of Whitman’s lack of exposure to Blake’s work, these affinities must be accounted for through a coterie of indirect influences on Whitman. Over the course of the introductory chapter, I establish the critical proclivity of connecting William Blake and Walt Whitman, providing examples of such critical interpretation; in addition, I provide an introduction to the key figures, terms, and works with which this thesis engages. The work of the second chapter of this project is to uncover in Whitman’s work, before he could have read Blake, those elements that are read as points of contact between them. Through close readings, I show that those aspects of Whitman’s work which are read as points of contact between Blake and Whitman predate Whitman’s exposure to Blake’s work, and so necessitate an engagement with influences shared by Blake and Whitman. The third chapter articulates the notion that a variety of influences affected Whitman’s composition of Leaves of Grass, and these various influences serve as an explanation for those apparent similarities between Blake and Whitman discussed in chapter two. The final element this chapter engages with is that of nineteenth-century periodical culture; this aspect of the influences articulated in this chapter provides a secondary explanation for the similarities discussed in the second chapter. The fourth and fifth chapters focus on the 1860 and 1867 iterations of Leaves of Grass and the 1867 and 1871–72 versions of Leaves of Grass, respectively, both with special emphasis on the poem that would become “Song of Myself.” The changes seen throughout these iterations will be used to understand Whitman’s evolving prosody as well as his changing public persona. These chapters also engage with the work of Swinburne, in chapter five, and of Gilchrist, in chapter four, as integral elements of this mediated influence of Blake on Whitman. In the final chapter of this work, I summarize my findings, suggest possible avenues for further inquiry, and discuss the implications of this research. There is a trend in Anglo-American literary criticism to see the relationship between America and England as adversarial rather than generative. The concluding chapter of this work will explore the idea of the Anglo-American literary tradition as a continuum—a complex of acceptance, extension, transformation, and refusal—and place the relationship of Whitman to Blake accurately on this continuum.APA, Harvard, Vancouver, ISO, and other styles
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Rodrigues, Andrezza Christina Ferreira. "A mitologia de William Blake: uma historia da representação no romantismo inglês." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/12811.
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This study analyzes the major works of William Blake, showing his tendency to create a mythology of its own, based on Judeo-Christian mythology that ran through his visual and poetic work. In this sense, his work can be understood as mythological, inserted in the representations of English romanticism. It can see how these peculiarities inherent to its formation as a poet and illustrator as well as influential graphic arts indirectly and occultism of his age directly
Este trabalho faz uma análise das principais obras de William Blake, evidenciando sua tendência à constituir uma mitologia própria, baseada na mitologia judaico-cristã, que percorreu todo seu trabalho visual e poético. Nesse sentido, seu trabalho pode ser compreendido como mitológico, inserido nas representações do romantismo inglês. Pode-se perceber essas particularidades como inerentes a sua formação como poeta e ilustrador e também como influenciador indireto das artes gráficas e direto do ocultismo de sua época
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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.APA, Harvard, Vancouver, ISO, and other styles
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Brown, Mikell Waters. "Divine Imagination: Correlations Between the Kabbalah and the Works of William Blake." VCU Scholars Compass, 1991. http://scholarscompass.vcu.edu/etd/4500.
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The intention of this thesis is to investigate correspondences which exist between the Kabbalah and the recondite world of William Blake's imagery. Particular attention will be paid to the symbiotic relationship or word and image and the dialectical approach to salvation which is common to both Blake and the Kabbalah. The attempt will be made to locate correlations between depictions or several or Blake's characters and components or the kabbalistic Tree of Life. In doing so, this writer hopes to show that Blake's familiarity with the Kabbalah was instrumental in enabling him to give form to the visionary experience upon which his mythological system was based. Certainly, a full understanding of Blake's symbolism must acknowledge not only his indebtedness to the Kabbalah, but also the significant role that esoteric tradition as a whole played in the development or eighteenth-century English thought.APA, Harvard, Vancouver, ISO, and other styles
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Hutchings, Kevin Douglas. "Imagining nature : Blake's vision of materiality /." *McMaster only, 1998.
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Williams, Patrick B. "Re-envisioning romanticism as postmodern fantasy : a case study of William Blake and Robert Jordan /." Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-3/williamsp/patrickwilliams.pdf.
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Thomas, Alexander. ""Success will write apocalypse across the sky" : William Blake and the eschatological performative." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/51858.
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Writing in an era of apocalyptic speculations and millenarian hopes, the Romantic poet and visionary William Blake made frequent and idiosyncratic use of eschatological themes and imagery throughout his poetry and art. While critics have long recognized the centrality of apocalyptic themes to Blake’s work, opinion has been largely divided as to the precise nature of Blakean apocalypticism. Critical attempts to address the complexities of Blakean apocalypticism have frequently been unable to reconcile Blake's celebration of the polysemous, indeterminate nature of reality with his triumphant vision of divine unity. In this essay, I argue that Blake's eschatological aspirations are realized precisely through his embrace of multiplicity and his resistance to totalizing systems of normative authority. Drawing on the work of Blake critic Angela Esterhammer, I contend that Blake’s apocalyptic writing is performative, in that it attempts to linguistically create the eschatological state it ostensibly describes. The goal of this Blakean eschatological performative is to radically transform the state of epistemological, social, and political closure which Blake characterizes as the post-lapsarian condition. Blake’s apocalyptic writing deconstructs the tendency of eschatological speech to calcify into a reinforcement of conventional social structures, while modelling a speech-community in which the fundamental legitimacy of all other subjects is a foundational and inalienable principle. This community, called by Blake “Jersualem,” is based on an embrace of the Other in which their ineluctable alterity paradoxically forms the basis of a more expansive personal identity. Following Judith Butler’s work on the insurrectionary potential of performatives, I argue that this Jerusalem community has potent political ramifications, as it enables disempowered, marginalized voices to resist hegemonic power-structures and lay claim to an agency denied to them by society-at-large.Arts, Faculty of
English, Department of
Graduate
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