31,688 research outputs found
French & Blake to Peter Van Brugh Livingston, September 23, 1760
No full textFrench & Blake, of Madiera Island, wrote to Peter Van Brugh Livingston, no address. They informed Peter that Martha Captain Hunter was taken by a French Privateer. They asked if the boat was insured. French and Blake sold Madeira wine and hoped for future orders.
Names included: Snow Industry James Carman Master, Captain Carinan, Captain Elliot, and Francis Lewis & Company.https://digitalcommons.kean.edu/lhc_1760s/1002/thumbnail.jp
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The twelve large colour prints of William Blake: a study on techniques, materials and context
No full textThe aim of this thesis is to study in entirety the group of large colour prints which William Blake made between 1795 and 1805. The series of prints represents the single most important and complete development of Blake’s skill as an innovative printmaker. Although they include some of Blake’s best-known images, they have not been studied before in their entirety or from the point of view of analysing the techniques and methods Blake had used. My study will show how Blake executed these truly impressive prints in terms of materials, method and motives. The first half of the thesis deals with the materialistic aspects of Blake’s colour printing. In chapter one tracing the controversial two-pull discussion to the root, I will make clear the focus points as well as revealing the early tradition of experimental criticism on Blake’s colour printing method. Focusing on two important critics, W. Graham Robertson and Ruthven Todd, and the periods they lived, I attempt to reveal the role they played in a wider context. Also I show how the tradition of Blake’s art was inherited directly through the Ancients to the Pre-Raphaelite Brotherhood, which leads to Robertson and Todd. In the second chapter I deal with the development of Blake’s colour printing experiments. It is obvious that the Twelve Large Colour Prints were produced as a result of Blake’s series of colour printing experiments, starting with monocolour simple prints, going through the illuminated books progressing with more colours and higher skills
William Blake and the visionary poetry of the law.
No full textPhDThis 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
Faith, feeling and gender in the writing of Hartley, Wollstonecraft and Blake
No full textThis thesis examines David Hartley’s Observations on Man (1749) and elucidates how Hartley’s mechanical approach to mind, his conception of emotion, and the religious status he awards the body were newly relevant after 1791. In this way it identifies a ‘Hartlean culture’ within the Romantic period and seeks to explore how such an intellectual climate influenced the radical writers William Blake (1757–1827) and Mary Wollstonecraft (1759–1797). Blake and Wollstonecraft were acquainted with the famous bookseller Joseph Johnson, who republished Observations on Man in various forms and versions between 1775 and 1801. They also had an association with Johnson’s circle; the Hartlean concepts found throughout their work evidence Hartley’s latent popularity within intellectual culture, as well as the writers’ engagement with contemporary philosophical ideas. I propose that the renewed curiosity in Hartley during the 1790s reveals a specific religious and revolutionary culture wherein non-conformist views about Christianity and new ideas about the body, emotion and women flourished. Such a cultural moment renders Hartley a particularly important figure for debate since he integrated progressive values about equality and faith alongside advancing understanding of anatomy and mind. Hartley identified how God and happiness could be found physically within each person. He did this by combining a complex theory of vibrations and theory of association, where the body and mind functioned mechanically through a person’s feelings of pleasure and pain. These feelings manifested as physical vibrations and eventually led every person to desire goodness until finally, they can become ‘Godlike’ themselves. Hartley’s amalgamation of Christian and new theoretical concepts appealed to Blake and Wollstonecraft, and was much unlike the approach of Joseph Priestley who abridged Observations in 1775 to promote a wholly ‘scientific’ text. In this way, we can see resonances between Hartley, Blake and Wollstonecraft, even if they existed in different cultural contexts. In rethinking Blake and Wollstonecraft through Hartley, I offer new insights into their feminism. In particular I attend to how Hartlean culture enabled these writers to re-imagine gender and emotion: Wollstonecraft reinstates the female experience back into Hartlean concepts in order to promote women’s emotional potential and what she understands as the special power of the female-female bond. Blake responds to both Wollstonecraft and Hartley with his elevation of the feminine, one that envisions new potential for both sexes, emotionally and spiritually. In both cases, the writers share a fascination for the image of the female saviour, and they use terminology and concepts found in Hartley’s work to communicate their views. In being attentive to the shared vocabulary and ideas of these three writers’ works, this thesis highlights the importance of David Hartley and Hartlean culture for the field of Romantic Studies. It also illuminates Observations on Man as a vital contribution to the intellectual context of the 1790s
Tradução comentada de Milton de William Blake
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Estudos da TraduçãoPartindo 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 reescrit
Künstler als Archivierende: Peter Blake
No full text" .... Peter Blake ist nicht nur ein unermüdlicher Maler, sondern auch ein manischer Sammler. Sorgfältig in Kartons und in Kisten abgelegt sind seine Fundstücke von Flohmärkten. "Meine Schätze haben immer mit meinen aktuellen Bildern zu tun", erklärt er. So hat er eine Zeit lang nur weiße Objekte um sich versammelt. Die fanden dann auf die eine oder andere Weise Eingang in seine collageartigen Bilder, die gelegentlich an die des Dadaisten Kurt Schwitters erinnern. Sein Archiv kennt Peter Blak..
Künstler als Archivierende: Peter Blake
No full text" .... Peter Blake ist nicht nur ein unermüdlicher Maler, sondern auch ein manischer Sammler. Sorgfältig in Kartons und in Kisten abgelegt sind seine Fundstücke von Flohmärkten. "Meine Schätze haben immer mit meinen aktuellen Bildern zu tun", erklärt er. So hat er eine Zeit lang nur weiße Objekte um sich versammelt. Die fanden dann auf die eine oder andere Weise Eingang in seine collageartigen Bilder, die gelegentlich an die des Dadaisten Kurt Schwitters erinnern. Sein Archiv kennt Peter Blak..
Author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Peter Jordan With Blake Nill, ca. 2003
No full textcolor photographExcellent conditionPeter Jordan (2nd from left, CBC Television host of 'It's a Living') came to Saint Mary's in Fall 2001 to experience 'a day in the life of' Huskies Head Football Coach Blake Nill.Posing for a photo are (from l to r) Dr. David Murphy (Arts class of 1966, Director of Athletics 2003-2008), Peter Jordan, Dr. Paul Bernard (in most appropriate football-print tie!, Department of Modern Languages and Classics, whose idea this was), and Blake Nill
Job’s Gethsemane: tradition and imagination in William Blake’s illustrations for the book of job
No full textBlake created two versions of his Illustrations of the Book of Job, and it is now agreed that about twenty years separates his first watercolour series and the final engraved set of plates. The first chapter is biographical and technical: it establishes that the Butts series of water-colours was the product of the tumultuous and creative years 1805-10, following a time wh6n Blake experienced a strong sense of vision and Christian regeneration; whereas the engraved set was produced 1821-1826, at the end of his life. It also reviews all Blake's treatments of the Job theme. The friends-turned-accusers seem to have been a central pre-occupation. Blake's illustrations contain important elements which are not found in the Old Testament text. I have followed Bo Lindberg's principle that explanation should be sought in the artistic tradition, and in the work itself The second chapter concentrates on the tradition available to Blake, following and supplementing Lindberg's examination of the influence of the apocryphal Testament of Job, and of the artistic tradition of seeing Job as alter Christus and as Christian. Chapters three to five, interpreting Blake's imaginative use of this material, are new both in focussing on the Butts set, and in exploring the importance to Blake of St.Teresa, Fenelon, Mme. Guyon, Hervey and other people of prayer. Also discussed are Joseph Hallett's radical biblical commentary, of which Blake owned a copy, variant proofs discovered by Robert Essick of the first and last engraved plates, and the thirteenth century Job wall- paintings discovered in 1800 in St. Stephen's Chapel, Westminster. Blake's Job was unique in the corpus of his work. Previous studies have followed Wicksteed in concentrating on the engraved set, and no one has explored the implications of the earlier dating now agreed for the watercolour series. The thesis is essentially concerned with Blake's Christocentric theme, and Job's inner journey of prayer, in these illustrations. Conclusions drawn differ substantially from Wicksteed's
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