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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.

Bibliography: leaves 421-464 / ix, 464 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 Language and Literature, 1988

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.

Orientador: Luiz Carlos da Silva Dantas / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T10:19:35Z (GMT). No. of bitstreams: 1 Alves_AndreaLima_D.pdf: 7208057 bytes, checksum: 584c925af827442cf05c62eeae5b38f9 (MD5) Previous issue date: 2007 / Resumo: A presente tese buscou averiguar a maneira pela qual texto e ilustração se relacionam nos illuminated books de William Blake, o conjunto de livros escritos e ilustrados pelo próprio artista, principalmente através de uma dessas obras, America, a Prophecy. Apesar de me voltar mais detalhadamente para apenas um de seus livros busquei pelo modo que em geral tal diálogo entre texto e imagens pictóricas se dá em sua obra como um todo, como se atesta em um dos capítulos onde procurei evidenciar as características mais essenciais das linguagens verbal e visual nesse tipo de arte composta criada pelo artista. Estudos que se voltem para essa questão são necessários uma vez que a qualidade das ilustrações de Blake é altamente alegórica e nada óbvia: elas nunca interagem com o texto que ilustram de maneira direta ou indicial apresentando uma cena, situação ou personagem exatamente como aparecem no texto; pelo contrário, geralmente as cenas representadas em suas ilustrações trazem situações e personagens sequer mencionados no texto, demandando do espectador a procura pela analogia possível com o texto a que pertencem para que sua interpretação seja bem lograda. Por causa desse caráter indireto de sua linguagem visual (característica também essencial de sua linguagem verbal) há na presente tese uma discussão sobre os conceitos de símbolo e de alegoria no contexto da obra blakeana / Abstract: This dissertation looks at the nature of the relationship between text and illustration in the illuminated books of William Blake, the set of works written and illustrated by the artist himself, mainly through one of these books, America, a Prophecy. Although attention was focused mainly on only one book, the author searched for the general way in which such a dialogue between text and pictures relate to each other in his work as a whole, as can be attested by one of the chapters where the essential features of both languages in this kind of composite art created by the artist, verbal and visual, are examined. Studies that investigate this question are necessary as the quality of Blake's illustrations is highly allegorical and not obvious at all: they never interact with the text that they illustrate in a direct or indicative way, such as presenting a scene, situation or characters exactly as they appear in the text; the opposite is usually true: the scenes represented in his illustrations contain situations and characters that were not even mentioned in the text, and by so doing they require the reader to search for the possible analogy with the text to which they belong in order to make an attempt at interpretation. This is why the dissertation at hand also presents a discussion of the concepts of symbolism and allegory in the context of Blake's work / Doutorado / Literatura Geral e Comparada / Doutor em Teoria e História Literária

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.

LAND OF DREAMS is an opera in one act based on poems by the English poet William Blake. The work is for chamber orchestra, dancers, and an actor, as well as the vocal cast listed below. Cast of Characters Thomas Soprano The Father Baritone The Nurse Alto The Mother Mezzo Soprano The opera divides into eight sections with a total performance time of approximately forty minutes. Each section represents a different stylistic approach to the musical material. This juxtaposing of various styles is reflective of the eclectic nature of the text. The setting is England around 1800, the scene is a child's (Thomas) bedroom. All of the dramatic action takes place in this room in the various stages of the conscious (awake) and unconscious (asleep) states of the child's mind.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

Studies of William Blake's poetry have historically paid little attention to the Welsh literary context of his time, especially the bardic lore (barddas), in spite of the fact that he considered himselfto be a bard and created an epic cosmos in which the bardic had exalted status. Of particular importance is the Welsh concept of the awen, which can be thought of as "the muse," but which must not be limited to the Greek understanding of the term For the Welsh, the awen had to do with the Christian concept of the Holy Spirit, and beyond that, with the poet's connection with his inspiration, or genius, whether Christian of otherwise. This study explores the idea of inspiration as it evolves from the Greek idea of the Muse, as it was perceived in the Middle Ages by Welsh writers, and as it came to be understood and utilized by writers in the Age of Blake.

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