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O objetivo geral desta dissertação é interpretar o corpo enquanto instância semântica no poema O Casamento do Céu e do Inferno (1790), do poeta inglês William Blake. Sustenta-se que uma semântica profunda de TMHH instaura uma forma ativa, integrada e franca de viver. Investigaremos a concepção de corpo presente do poema a fim de validar a hipótese de que é possível ter a vida transformada pela leitura de um texto altamente poético. Essa transformação, em última instância, é uma consequência da apropriação do texto pelo leitor. Tal apropriação se dá não só pela via mental, mas de fato pela incorporação do texto literário. O trabalho será realizado com base na hermenêutica de Paul Ricoeur, especialmente na dialética da conjectura e da validação. Já o livro de artista, ramo da arte conceitual do qual Blake é visto como um dos precursores, será apresentado enquanto performance e demonstração dos sentidos de corporeidade vislumbrados pela presente interpretação do poema. Em termos de embodiment, o papel da gravura em metal do processo criativo completo de Blake abre-nos possibilidades para um amplo horizonte de metáforas relacionadas às especificidades dessa técnica quando em articulação com o poema. / The general objective of this dissertation is to interpret the body as a semantic instance in the poem The Marriage of Heaven and Hell (1790), from English poet William Blake. It holds that the depth semantics of TMHH establishes an active, integrated, and franc way of living. We will investigate the conception of a present ‘body’ of the poem to validate the hypothesis that it is possible to have lives transformed by the reading of a highly poetic text. This transformation is ultimately a consequence of the appropriation of the text by the reader. Such appropriation is not only mental, but it takes place in the incorporation, or embodiment, of the literary text. The work will be based on Paul Ricoeur’s hermeneutics, especially the dialectics of guess and validation. The artist’s book, a field of conceptual art of which Blake is seen as precursor, will be presented as performance and demonstration of the senses of corporeality foreseen in this interpretation of the poem. In terms of embodiment, the role of engraving in Blake’s complete creative process opens to a wild horizon of metaphors concerning the specificities of this art in relation to the poem.

O objetivo geral desta dissertação é interpretar o corpo enquanto instância semântica no poema O Casamento do Céu e do Inferno (1790), do poeta inglês William Blake. Sustenta-se que uma semântica profunda de TMHH instaura uma forma ativa, integrada e franca de viver. Investigaremos a concepção de corpo presente do poema a fim de validar a hipótese de que é possível ter a vida transformada pela leitura de um texto altamente poético. Essa transformação, em última instância, é uma consequência da apropriação do texto pelo leitor. Tal apropriação se dá não só pela via mental, mas de fato pela incorporação do texto literário. O trabalho será realizado com base na hermenêutica de Paul Ricoeur, especialmente na dialética da conjectura e da validação. Já o livro de artista, ramo da arte conceitual do qual Blake é visto como um dos precursores, será apresentado enquanto performance e demonstração dos sentidos de corporeidade vislumbrados pela presente interpretação do poema. Em termos de embodiment, o papel da gravura em metal do processo criativo completo de Blake abre-nos possibilidades para um amplo horizonte de metáforas relacionadas às especificidades dessa técnica quando em articulação com o poema. / The general objective of this dissertation is to interpret the body as a semantic instance in the poem The Marriage of Heaven and Hell (1790), from English poet William Blake. It holds that the depth semantics of TMHH establishes an active, integrated, and franc way of living. We will investigate the conception of a present ‘body’ of the poem to validate the hypothesis that it is possible to have lives transformed by the reading of a highly poetic text. This transformation is ultimately a consequence of the appropriation of the text by the reader. Such appropriation is not only mental, but it takes place in the incorporation, or embodiment, of the literary text. The work will be based on Paul Ricoeur’s hermeneutics, especially the dialectics of guess and validation. The artist’s book, a field of conceptual art of which Blake is seen as precursor, will be presented as performance and demonstration of the senses of corporeality foreseen in this interpretation of the poem. In terms of embodiment, the role of engraving in Blake’s complete creative process opens to a wild horizon of metaphors concerning the specificities of this art in relation to the poem.

O objetivo geral desta dissertação é interpretar o corpo enquanto instância semântica no poema O Casamento do Céu e do Inferno (1790), do poeta inglês William Blake. Sustenta-se que uma semântica profunda de TMHH instaura uma forma ativa, integrada e franca de viver. Investigaremos a concepção de corpo presente do poema a fim de validar a hipótese de que é possível ter a vida transformada pela leitura de um texto altamente poético. Essa transformação, em última instância, é uma consequência da apropriação do texto pelo leitor. Tal apropriação se dá não só pela via mental, mas de fato pela incorporação do texto literário. O trabalho será realizado com base na hermenêutica de Paul Ricoeur, especialmente na dialética da conjectura e da validação. Já o livro de artista, ramo da arte conceitual do qual Blake é visto como um dos precursores, será apresentado enquanto performance e demonstração dos sentidos de corporeidade vislumbrados pela presente interpretação do poema. Em termos de embodiment, o papel da gravura em metal do processo criativo completo de Blake abre-nos possibilidades para um amplo horizonte de metáforas relacionadas às especificidades dessa técnica quando em articulação com o poema. / The general objective of this dissertation is to interpret the body as a semantic instance in the poem The Marriage of Heaven and Hell (1790), from English poet William Blake. It holds that the depth semantics of TMHH establishes an active, integrated, and franc way of living. We will investigate the conception of a present ‘body’ of the poem to validate the hypothesis that it is possible to have lives transformed by the reading of a highly poetic text. This transformation is ultimately a consequence of the appropriation of the text by the reader. Such appropriation is not only mental, but it takes place in the incorporation, or embodiment, of the literary text. The work will be based on Paul Ricoeur’s hermeneutics, especially the dialectics of guess and validation. The artist’s book, a field of conceptual art of which Blake is seen as precursor, will be presented as performance and demonstration of the senses of corporeality foreseen in this interpretation of the poem. In terms of embodiment, the role of engraving in Blake’s complete creative process opens to a wild horizon of metaphors concerning the specificities of this art in relation to the poem.

From the perspective that it is one and the same picture that is changing, this essay includes semiotic analyses of Lynn Curlee´s painting Smoking angels, made in 1979, the photograph from 1928 wich inspired the artist, as well as Black Sabbath´s album cover Heaven and Hell, that was first released in 1980. Although the forms of the pictures are different the motif is quite the same, yet, what the pictures convey is different. The analysis will be based mainly by the use of two theories: Hans Belting opines that a picture can not exist on its own, that "the what" of an image is steered by "the how" in wich it transmits its message. The medium that is used and the physical form are the messengers but the picture happens where it is manifested. Wendy Leeds-Hurwitz´s theory implies that to understand what a picture means we need to study the context and culture that is prevailing where the picture is shown. How the picture is received in its different forms and what the factors are that play a part in this, is the main focus in this essay.

My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.