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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
Memorandum, C. D. Blake to the Regional Forester
No full textIn this brief Memorandum C. D. Blake informs the Regional Forester that Shearer landing field has been rated as too dangerous for landing small ships. Blake does not suggest that Shearer be abandoned, as some later opponents of the airstrip will, but he does propose that improvements should be mad
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
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
William Blake The Critical Heritage
No full textThe Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The carefully selected sources range from landmark essays in the history of criticism to journalism and contemporary opinion, and little published documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects. The Collected Critical Heritage set will be available as a set of 68 volumes and the series will also be available in mini sets selected by period (in slipcase boxes) and as individual volumes.Cover -- WILLIAM BLAKE: THE CRITICAL HERITAGE -- Copyright -- Contents -- Preface -- Acknowledgments -- Introduction -- Note on the Text -- Preface -- Introduction: BLAKE'S CRITICAL REPUTATION 1780-1863 -- PART I BLAKE'S LIFE -- 1. General comments: 1826, 1827, 1855 -- (a) Crabb Robinson, 1826 -- (b) John Linnell, 1827 -- (c) Samuel Palmer, 1855 -- 2. External events: 1757-1812 -- 3. Politics: 1804, 1805 -- (a) Samuel Greatheed, 1804 -- (b) William Hayley, 1805 -- 4. Visions: 1761-1825 -- (a) Blake, 1761-1800 -- (b) Thomas Phillips, 1807 -- (c) Blake, 1819-25 -- 5. Madness: 1841, 1805, 1830 -- (a) W.C.Dendy, 1841 -- (b) Lady Hesketh, 1805 -- (c) Caroline Bowles, 1830 -- (d) Robert Southey, 1830 -- (e) James Ward, Edward Calvert, F.O.Finch, Cornelius Varley -- (f) Seymour KirKup -- 6. 'He is always in Paradise': 1825-60 -- (a) Crabb Robinson, 1825 -- (b) Samuel Palmer -- (c) Thomas Woolner, 1860 -- (d) Seymour Kirkup -- (e) Crabb Robinson, 1826 -- (f) Frederick Tatham, 1832 -- PART II WRITINGS -- 7. Reviews of Malkin's account of Blake (1806): 1806, 1807 -- (a) Literary Journal, 1806 -- (b) British Critic, 1806 -- (c) Monthly Review, 1806 -- (d) Monthly Magazine, 1807 -- (e) Annual Review, 1807 -- 8. General comments: 1807-38 -- (a) George Cumberland, 1808 -- (b) Blake, 1808 -- (c) Wordsworth, 1807 -- (d) Crabb Robinson, 1812, 1813, 1838 -- (e) W.S.Landor -- 9. Poetical Sketches (1783): 1828, 1784 -- (a) J.T.Smith, 1828 -- (b) John Flaxman, 1784 -- 10. The Book of Thel (1789): 1839 -- J.J.G.Willinson's, 1839 -- 11. The French Revolution (1791) -- Samuel Palmer, 1827 -- 12. Songs of Innocence and of Experience (1789, 1794): 1811-63 -- (a) J.T.Smith, 1828 -- (b) Crabb Robinson, 1811 -- (c) William Hazlitt, 1826 -- (d) Coleridge, 1818 -- (e) Gilchrist, 1863 -- (f) Blake, 1827 -- (g) Edward FitzGerald, 1833 -- (h) J.J.G.Wilkinson, 1839(i) Edward Quillinan, 1848 -- (j) John Ruskin -- 13. America (1793) and Europe (1794): 1828 -- Richard Thomson, 1828 -- 14. Descriptive Catalogue (1809): 1809-47 -- (a) Blake, 1809 -- (b) Crabb Robinson, 1810 -- (c) Robert Southey, 1847 -- (d) George Cumberland, Jr, 1809 -- (e) George Cumberland, 1809 -- (f) Robert Hunt in the Examiner, 1809 -- (g) Blake -- 15. Jerusalem (1804-?20): 1811-28 -- (a) Crabb Robinson, 1811 -- (b) T.G.Wainewright, 1820 -- (c) J.T.Smith, 1828 -- PART III DRAWINGS -- 16. General comments: 1780-1865 -- (a) Crabb Robinson, 1825 -- (b) Blake, ?1820 -- (c) Gilchrist, 1863 -- (d) J.T.Smith, 1828 -- (e) Blake -- (f) Fuseli -- (g) George Richmond -- (h) Allan Cunningham, 1830 -- (i) Isaac D'Israeli, 1836 -- (j) William Hayley, 1803 -- (k) Gilchrist, 1863 -- (l) J.T.Smith, 1828 -- (m) Frederick Tatham, ?1832 -- (n) John Linnell, 1863 -- (o) Blake -- (p) George Cumberland, 1780 -- (q) John Flaxman, 1783 -- (r) Dr Trusler, 1799 -- (s) John Flaxman, 1800 -- (t) Blake, 1802 -- (u) T.F.Dibdin, 1836 -- (v) William Hayley, 1801 -- (w) Blake, 1801 -- (x) Nancy Flaxman, 1805 -- (y) Blake, 1808 -- (z) Ozias Humphry, 1808 -- (aa) George Cumberland, Jr, 1815 -- (bb) J.T.Smith, 1828 -- (cc) C.H.B.Ker, 1810 -- (dd) Seymour KirKup, 1865 -- (ee) George Cumberland, 1808 -- (ff) J.J.G.Wilkinson, 1838 -- (gg) John Ruskin, 1849 -- PART IV ENGRAVED DESIGNS -- 17. General comments -- (a) Blake, 1804 -- (b) Gilchrist, 1863 -- (c) John Flaxman, 1805 -- (d) Joseph Johnson, 1791 -- (e) John Flaxman, 1804, 1808, 1814 -- 18. Salzmann, Elements of Morality (1791): 1791 -- Analytical Review, 1791 -- 19. Burger, Leonora (1796): 1796 -- (a) British Critic, 1796 -- (b) Analytical Review, 1796 87 -- 20. Cumberland, Thoughts on Outline (1796): 1796 -- Reference to Blake in the text, 1796 -- 21. Stuart and Revett, Antiquities of Athens, 1794: 1803John Flaxman, 1803 -- 22. Young, Night Thoughts (1797): 1796-1830 -- (a) J.T.Smith, 1828 -- (b) Joseph Farington 1796-7 -- (c) Advertising flyer, 1797 -- (d) Advertisement in Night Thoughts, 1797 -- (e) T.F.Dibdin, 1824 -- (f) Bulwer Lytton, 1830 -- (g) Auction catalogue, 1821 -- (h) Auction catalogue, 1826 -- (i) Auction catalogue, 1828 -- 23. Hayley, Essay on Sculpture (1800): 1800 -- (a) William Hayley"s, 1800 -- (b) Blake, 1800 -- (c) William Hayley, 1800 -- 24. Hayley, Designs to a Series of Ballads (1802): 1802 -- (a) William Hayley, 1802 -- (b) Lady Hesketh, 1802 -- (c) John Flaxman, 1802 -- (d) Charlotte Collins, 1802 -- (e) Lady Hesketh, 1802 -- (f) Blake -- (g) John Johnson, 1802 -- (h) Lady Hesketh, 1802 -- (i) William Hayley, 1802 -- (j) Lady Hesketh, 1802 -- 25. Hayley, Life…of William Cowper (1803): 1801-4 -- (a) William Hayley, 1801 -- (b) Lady Hesketh, 1801 -- (c) William Hayley, 1801-2 -- (d) John Flaxman, 1802 -- (e) William Hayley, 1802 -- (f) Lady Hesketh, 1802-3 -- (g) Blake, 1803 -- (h) Lady Hesketh, 1803 -- (i) Samuel Greatheed, 1804 -- 26. Hayley, Triumphs of Temper (1803): 1803 -- John Flaxman, 1803 -- 27. Hoare, Academic Correspondence, 1803 (1804): 1804 -- Literary Journal, 1804 -- 28. Hayley, Ballads (1805): 1805, 1806 -- (a) William Hayley, 1805 -- (b) Lady Hesketh, 1805 -- (c) Samuel Greatheed, 1805 -- (d) Samuel Greatheed review, 1805 -- (e) Robert Southey review, 1806 -- 29. Blair, The Grave (1808): 1805-63 -- General comments, 1805-63 -- (a) John Flaxman, 1805 -- (b) Blake, 1805 -- (c) Prospectus, 1805 -- (d) R.T.Stothard, 1863 -- (e) John Flaxman, 1805 -- (f) R.H.Cromek, 1807 -- (g) Louis Schiavonetti, 1807 -- (h) John Hoppner, 1808 -- (i) Advertisement, 1808 -- (j) W.Walker, 1808 -- (k) William Bell Scott -- (l) David Scott, 1844 -- (m) James Montgomery -- Reviews -- (n) Review by Robert Hunt in the Examiner, 1808(o) Blake's reply in his Descriptive Catalogue, 1809 -- (p) Antijacobin Review, 1808 -- (q) Monthly Magazine, 1808 -- General comments, 1810-26 -- (r) W.P.Carey, 1817 -- (s) Repository of Arts, 1810 -- (t) C.H.B.Ker, 1810 -- (u) Quarterly Review, 1826 -- (v) J.J.de Mora, 1826 -- (w) Sir Edward Denny, 1826 -- 30. The Prologue and Characters of Chaucer's Pilgrims (1812): 1812 -- (a) Introduction -- (b) Gentleman's Magazine, 1812 -- 31. Virgil, Pastorals (1821): 1821-63 -- (a) Henry Cole, 1843 -- (b) Gilchrist, 1863 -- (c) Virgil, Pastorals, 1821 -- (d) Edward Calvert -- (e) Samuel Palmer -- 32. Remember Me! (1825, 1826): 1825 -- Introduction -- 33. Illustrations of The Book of Job (1826): 1826-45 -- (a) J.T.Smith, 1828 -- (b) E.T.Daniell, 1826 -- (c) Robert Balmanno, 1826 -- (d) Sir Edward Denny, 1826 -- (e) H.S.C.Shorts, 1827 -- (f) George Cumberland, 1827 -- (g) H.Dumaresq, 1828 -- (h) Bernard Barton, 1830, 1838 -- (i) F.T.Palgrave, 1845 -- 34. Blake's Illustrations of Dante (?1838): 1824-?32 -- (a) Samuel Palmer, 1824 -- (b) T.G.Wainewright, 1827 -- (c) Crabb Robinson, 1827 -- (d) Bernard Barton, 1830 -- (e) Frederick Tatham's, ?1832 -- PART V GENERAL ESSAYS ON BLAKE -- 35. B.H.Malkin, A Father's Memoirs of his Child: 1806 -- 36. H.C.Robinson, 'William Blake, artist, poet and religious mystic': 1811 -- 37. Obituary in Literary Gazette: 1827 -- 38. Obituary in Literary Chronicle: 1827 -- 39. Allan Cunningham Lives of. British Painters: 1830 -- 40. Anon., 'The inventions of William Blake, painter and poet': 1830 -- 41. Anon., 'The last of the supernaturalists': 1830 -- 42. Frederick Tatham, 'Life of Blake': ?1832 -- PART VI FORGOTTEN YEARS REFERENCES TO WILLIAM BLAKE: 1831-62 -- Bibliography -- Annotated index of namesThe Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The carefully selected sources range from landmark essays in the history of criticism to journalism and contemporary opinion, and little published documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects. The Collected Critical Heritage set will be available as a set of 68 volumes and the series will also be available in mini sets selected by period (in slipcase boxes) and as individual volumes.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Profecia poética e tradução: America a prophecy, de William Blake, traduzida e comentada
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expresão. Programa de Pós-graduação em Estudos da TraduçãoEsta dissertação consiste na tradução comentada do livro America A Prophecy (1793), do poeta inglês William Blake (1757-1827). O trabalho contextualiza America no conjunto da obra de Blake e apresenta um quadro de suas traduções publicadas no Brasil. Discute também alguns tópicos da teoria da tradução de textos poéticos utilizados a seguir no estudo dos elementos mais importantes de America para a nova tradução proposta - ritmo (esquema acentual, anáfora, paralelismo rítmico e assonâncias, correspondência rítmica), aliterações, colocações blakeanas, símbolos, nomes de personagens históricas -, que é sistematicamente confrontada com a versão portuguesa do poema, realizada por Manuel Portela. This dissertation consists of a translation with commentary of the book America A Prophecy (1793), by the English poet William Blake (1757-1827). It contextualizes America in the ensemble of Blake's work and presents a summary of the published translations of his work in Brazil. It also discusses some aspects of translation theory concerning poetical texts, which are then used in the study of the elements of America which are most important for the new translation - rhythm (accentual scheme, anaphora, rhythmic parallelism and assonance, rhythmic correspondence), alliterations, Blakean collocations, symbols, names of historical characters -, which is systematically confronted with a Portuguese version of the poem, by Manuel Portela
Blake and Kierkegaard Creation and Anxiety
No full textThis study applies Kierkegaardian anxiety to Blake's creation myths to explain how Romantic era creation narratives are a reaction to Enlightenment models of personality.Intro -- Contents -- Acknowledgments -- Introduction -- 1 Blake and Kierkegaard: Shared Contexts -- The Sources of Kierkegaardian Anxiety and Creation Anxiety -- Denmark's and England's Shared Histories -- Denmark's and England's Cultural Anxieties -- Blake, Kierkegaard, and the Cultural Tensions -- 2 Blake, Kierkegaard, and the Socratic Tradition -- Human Personality and the Socratic Tradition -- Kierkegaard and the Socratic Tradition -- Blake and the Socratic Tradition -- 3 Blake, Kierkegaard, and the Classical Model of Personality -- Kierkegaard's Aesthetic Stage and Blake's Innocence -- Kierkegaard's Ethical Stage and Blake's Experience -- Kierkegaard's Religiousness A and B and Blake's Visionary Personality -- 4 Innocence, Generation, and the Fall in Blake and Kierkegaard -- Kierkegaard and the Problem of Generation -- Generation in Blake -- Urizen the Reflective-Aesthetic King -- Reason and Imagination in Blake and Kierkegaard -- 5 Creation Anxiety and The [First] Book of Urizen -- Urizen the Creator-Monarch -- Science and Religion in the Urizen Books -- Haufniensis, the Demonic, and Spiritlessness -- Conclusion: Nature, Artifice, and Creation Anxiety in William Blake -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- YThis study applies Kierkegaardian anxiety to Blake's creation myths to explain how Romantic era creation narratives are a reaction to Enlightenment models of personality.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Correspondence from Blake Scott to Oscar E. Monnig, April 7. 1976
No full textLetter to Oscar E. Monnig from Blake Scott inviting Monnig to look at what he suspects are pieces of meteorites.April 7, 1976 Mr Oscar Monnig Dear Sir: Received your card. Was glad to hear [hear] from you. I would be good for you to come out any time and see what I believe is pieces of the large meteorite I sold you thank you for writing Blake D. Scott Blake D. Scott Rt 1 Forestburg, Texas 76239 Oscar Monnig 29 Chelsea Drive Fort Worth TX 7613
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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