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Toward a literary history of the subject a reading of Rousseau's Confessions and Blake's visionary epics /Griffin, Paul F. January 1981 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1981. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 314-320).
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'Unnatural refuge' : Aspects of pastoral in William Blake's epic poetryCox, P. January 1988 (has links)
No description available.
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The Significance of William Blake's Poetry in Joyce Cary's The Horse's MouthGaston, Karen Carmean 06 1900 (has links)
William Blake's poetry in Cary's novel plays an integral role, and it is the purpose of this thesis to discuss the significance of Blake's poetry in The Horse's Mouth.
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Image and poetry in selected early works of William Blake: producing a third textDouglas, Carla 23 April 2013 (has links)
Thesis (M.A. (Masters by dissertation))--University of the Witwatersrand, Faculty of Humanities, 2012. / This study is concerned with the relationship between images and poetry in the early illuminated
books of William Blake. It seeks to explore the generative production of meaning which arises from
the interaction of these different aesthetic modalities. Such meanings are investigated through the
notion of a “Third Text”, which has been adapted from the thought of Stephen Behrendt
(“‘Something in my Eye’: Irritants in Blake’s Illuminated Texts”). The Third Text arises from the
interaction of images and texts, but is identical to neither alone, nor is it constituted by the sum of
the contributing parts. The interactions of image and text are further elucidated through the
application of selected poststructuralist theories, drawn from the writing of Jacques Derrida and
Roland Barthes. Notions of the Text, différance, the supplement and spectrality are central to the
argument. An interaction is established between Blake’s illuminated books and the chosen
poststructuralist constructs in order to recognise the singularity of the verbal and visual material
considered.
An interrelated component of this study is a reflection on the ways in which Blake breaks the
conceptual frames of image and text in his illuminated books, thus challenging a range of established
models. Particular attention is paid to the early illuminated books, Songs of Innocence and of
Experience and America a Prophecy. Key concerns of this study include the ways in which Songs
challenges the boundaries between innocence and experience and the exploration of prophetic
vision in America. The dissertation concludes by emphasising the importance of preserving an
infinite relation of image to text, both in Blake studies and more broadly in the analysis of image-text
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Infinity on the anvil : a critical study of Blake's poetryGardner, Stanley January 1956 (has links)
No description available.
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Mysticism in Blake and Wordsworth ...Korteling, Jacomina, January 1928 (has links)
Proefschrift--Amsterdam. / Bibliography: p. 170-174.
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Visionary imaginationGilmour, Nathan P. January 2002 (has links)
Thesis (M.A.R.)--Emmanuel School of Religion, Johnson City, Tennessee, 2002. / Vita. Includes bibliographical references (leaves 66 [i.e. 65]-67).
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Imagery from the technology of the industrial revolution in the poetry of William BlakeYork, Ella Mae, 1921- January 1960 (has links)
No description available.
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William Blake and the ornamental universe / William Blake and the ornamental universeFuglem, Terri January 1992 (has links)
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.
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"Enough! or too much" : the functions of media interaction in William Blake's composite designsSaklofske, Jon A. H. January 2003 (has links)
Visual art and written text have been described as historical sisters, linguistic twins and warlike enemies. These attempts to exclusively define the capabilities of each medium are inherently limited, contradictory and inaccurate. A better understanding of their individual capability and cooperative possibility can be achieved by examining the ways in which each functions in relation to the other on the composite page. William Blake's designs provide an excellent arena in which the functional interaction between the arts can be observed. Blake's visual additions to the poetry of Thomas Gray, Robert Blair and Edward Young demonstrate that the visual image is capable of interrupting the stability of exclusive textual meaning. However, this does not undermine the capability of either medium to assert meaningful possibility. Rather, the excess of Blake's visual imagery amidst another's poetic page produces a pluralisation of media and representative potential that avoids the extremes of hierarchical definition and all-inclusive meaninglessness. In contrast, Blake's own composites feature visual art and textual expression that both contribute to an overall evasion of definitive interpretation. However, their unpredictable interrelations and inconsistencies amplify and distort one another on the composite page, sustaining a relationship that is neither exclusively harmonic nor discordant. Thus, the non-synthetic "marriage" of contrary states that provides the subject matter of the Songs and the Marriage is also an accurate model for the overall relationship between visual art and text in Blake's designs. A consideration of historical context reveals the contradictory currents that direct and antagonise Blake's designs and suggests that the perception of the relationship between the "Sister Arts" often depends on such temporal conditions. While acknowledging the limitations imposed by historical circumstance, this study also recognises that late eighteenth-century uncertainties encourage innovative reconceptualisations of composite interaction. In both form and content, Blake's designs contain yet contend with a variety of perspectives, and are invaluable examples of the individual and interactive plenitude that visual art and text are capable of. Overall, Blake's work highlights the unique role that the multi-media space plays in creative and critical efforts to understand the functional capability of each representative medium.
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