Blake Lapin's senior thesis, Durability of Bone, is a five-part collection of poems written, edited, and compiled under the mentorship of Henri Cole. Themes include loss, love, travel, disability, and home.

Diese Arbeit schildert auf der Basis einer Analyse der intermedialen Struktur der Werke zweier Künstler aus unterschiedlichen Jahrhunderten die Transportierung eines mystischen Selbstverständnisses, das als Tiefenstruktur der zugrundeliegenden Werke ausgemacht wird. Deshalb sieht diese Arbeit beide Künstler als christliche Mystiker an, deren Weltbild keine grundlegenden Unterschiede aufweist. Darüberhinaus wird über diese beiden Autoren versucht die kontrovers diskutierte Aktualität von Mystik in der Gegenwart herauszustellen. Zentraler Teil und Ausgangspunkt der Ergebnisse ist hierbei die Analyse eines mystischen Wertesystems, das sich in den Prophecies von William Blake finden lässt und das sich in wesentlichen Punkten auf die Werke von Van Morrison übertragen lässt. / This work doesn't deal with two artists in the way that it compares their lyrics in an immanent way. Moreover, it tries to show that William Blake and Van Morrison use differnet means of art in order to express the same intention. That is mainly a mystic view of the world which is embodied in the heart of their work. Both artists regard art as a healing force. The central aspects are summarized in a chapter which deals thouroughly with a mystic system that William Blake developed in his prophecies that were not published throughout his life. Somehow, it can be called the religious centre of his work. Van Morrison obviously uses this system in some of his songs, too. So, that finally both artists are regarded as christian mystics. Consequently, the contemporary view of mystic has to be discussed.

Thesis (M.A.)--Memorial University of Newfoundland, 2005. / Bibliography: leaves 90-93.

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Swallow, Egg, Chrysanthemum is a sixteen minute work for piano and orchestra. The title refers to symbols from Greek, Western and Asian cultures, with all of the symbols being associated with life, death, or resurrection. Over the course of the piece the interaction of the piano with the orchestra creates a metaphor for the journey of the human soul through the three states of existence. Each of the three contiguous movements carries the name of one of the symbols, whose physical aspects influence the internal form of the movement. In recognition of the conflict between an acceptance of life and death, and a belief in life, death and resurrection, the work contains coexisting two- and three- part forms. At the temporal level, “Swallow” is balanced by “Egg” and “Chrysanthemum”, and this balance is aided by a blurring of the boundary between the last two movements. The musical language of the work is based in part on the use of cyclical, diminishing permutations of pitch collections, which are themselves derived from a master pitch group. The permutations reduce the number of pitches in each collection, creating an apparent “zeroing in” on a single pitch or “tonic goal”. As a result, moving backwards or forwards through the reductive process can increase or decrease the musical tension of a particular passage, by altering the number of pitches present. Twelve harmonic areas are created using this technique, and over the course of the work each of them is touched upon, with certain ones being of greater importance. Foreshadowing has been used in the form of the work as a unifying device and is present at the micro and macro levels. The form of the Introduction can be mapped onto the first two movements, and onto the piece as a whole. In the last movement a process of postshadowing occurs, whereby earlier material is reinterpreted and transformed in a summation of the work.

What did William Blake mean when he threatened the world with a “Bible of Hell” in The Marriage of Heaven and Hell (1790)? A critical survey of the history of scholarship on the topic reveals a variety of unsupported Bible of Hell canon theories among 180 critics. The most plausible theory (though not the most popular) among them is that the Bible of Hell comprises Blake’s eight core 1790-95 Illuminated Books—The Marriage, the Continental Prophecies (1793-95), and the Urizen Books (1794-95). My thesis supports this theory from several angles. Part I examines how The Marriage establishes a Bible of Hell program with four inclusion criteria by which the works of 1793-95 abide: (1) a rhetoric of diabolical revision, which reclaims the Devil as a Christological redeemer and exposes Yahweh as the Antichrist; (2) organization by contraries; (3) mock-biblical revision; and (4) illumination. Chapters 3-6 examine these criteria in their literary-historical contexts, first by tracing the genealogy of diabolical revision in satirical diabologies and mundus inversus literature and art of the seventeenth and eighteenth centuries. Chapters 4-5 examine aspects of biblical revision in the context of early Christian heresies, modern sects, Enlightenment biblical scholarship, speculative mythography, and biblical parodies. Chapter 6 considers Blake’s Bible of Hell in the context of the illustrated Bible market of the 1790s. Part II (Chs. 7-10) assesses Blake's works of 1788-95 according to these criteria, showing that the works of 1788-89 develop Bible of Hell features that culminate in The Marriage of Heaven and Hell and continue in the 1793-95 mock-biblical prophecies. Here the dissertation’s focus shifts to the conceptual evolution of the Bible of Hell in response to the failure of the French Revolution and its authoritarian backlash in England. Whereas The Marriage prophesied apocalypse as the righting of the upside-down world by a revolutionary, antinomian Christ, its 1793-95 sequels lose faith in revolution but critique biblical monotheism as the basis of historical tyranny. The final chapter examines conceptual tensions within the works of 1793-95 to hypothesize why Blake abandoned the Bible of Hell. / Thesis (Ph.D, English) -- Queen's University, 2012-07-31 12:36:56.964

The social atmosphere in England at the end of the eighteenth century abounded with visions of new heavens and new earths propagated by political and religious writers. To some, the French Revolution was incontrovertible evidence that the Day of Judgement was near, and that the end of the century would coincide with the end of time. To others, elaborate mathematical calculations produced the same conclusion. Many writers became self-proclaimed prophets who depicted new revelation of the future in detail, and their audience became a culture of anticipation who eagerly awaited the fruition of prophecy and the descent of the New Jerusalem. William Blake was at once related and opposed to this Literature of Anticipation. The collection of illuminated texts known as his "Bible of Hell" adopts the familiar form of prophecy, but acerbically criticizes the action---or inaction---of Blake's contemporaries, and seriously questions the foundation of Christian theology and the beneficence of the Christian God. What emerges from Blake's Bible is a concept of prophecy that stresses an immediacy of vision in sharp contrast with the fruitless waiting of millennialist prophets, and an internal locus of responsibility that dissolves all ties to tyrannical authority.

Thesis (Ph. D.)--University of Hawaii at Manoa, 1995. / Includes bibliographical references (leaves 297-312). / Microfiche. / li, 312 leaves, bound 29 cm

Bibliography: leaves [581]-591 / xi, 591 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1985