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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The purpose of this study is to examine the parallels between the tenets of Carl Jung's psychology and the mythopoeic structure of Blake's poem, The Four Zoas. The investigation is divided into three chapters. The first deals with the major conceptual parallels between the intellectual systems of the two men. The second is a detailed analysis of the poem, and the third concludes the study by discussing the originality of Blake's thought. Blake anticipated much of Jung's psychology. The parallels between the two are so strong that each man seems to corroborate and validate the opinions and insights of the other. The extent to which he foreshadows Jung reveals Blake to be one of the most original thinkers of any period of time.

Dissertation : Fachbereich Philosophie und Sozialwissenschaften--Berlin--Freie Universität, 1976. / Bibliogr. p. 296-309.

The origin of the story of Narcissus is unknown, and the circumstances of his death are uncertain, but the most popular version of the tale as told by Ovid has been read, translated, explained, moralized and disputed by innumerable writers and alluded to by many more. Renaissance writers in England, such as Golding, Edwards and Sandys, were interested in first introducing the myth into their own language and then, in explaining its meanings, lessons and moralizations. Later poets paraphrased their translations, often adding their own point of view or else using only the skeleton structure of the myth for their own poetic purposes. The simple story of a youth who died by a pool after falling hopelessly in love with his own reflection acquired a significance and immortality worthy of a Greek god. The Eighteenth Century writers, who were less interested in the gods than their predecessors had been, almost completely ignored Narcissus in their poetry, but later poets such as Blake, Shelley and Keats revived him once again and transformed the faded youth into a Romantic. In The Book of Thel Blake explores the consequences of self-love, and anticipates the fuller development of this theme in The Four Zoas. He uses the archetypal pattern of the Narcissus myth for portraying the fading Thel, who refuses to enter the state of Generation because she is afraid of the voice of experience that she meets in her own grave when she descends into the underworld. Her sterile separation from her Spectre is similar to the unconsummated relationship between Narcissus and Echo. Thel fleeing from her grave escapes back to non-existence, fading by the river like Narcissus and Echo. An understanding of the function of the Narcissus story in Shelley's poem, Alastor, is indispensable to an interpretation of this controversial poem. Shelley's allusions to the myth are faithful to the Ovidian version of Narcissus as a youth who sighs away his life after seeing his own shadow in a well. Shelley associates the Poet's quest with the Narcissus myth by generally paralleling the narrative structure of Ovid's story, and by employing much of its imagery. Chapter II argues that Shelley's poem is both unified and consistent when it is interpreted in terms of the Narcissus theme. Keats primarily uses the popular myth of Endymion and Cynthia in his poem, Endymion, but also includes other myths in the manner of the Renaissance epyllion. The most significant addition to the main myth is the story of Narcissus as a comment on the nature of Endymion's quest. Keats pictures the hero at the well, viewing the reflection of the vision, in order to establish the specific parallel to Ovid's story. Endymion, however, unlike Narcissus or the Poet in Alastor, recognizes his illusion and proceeds towards accepting his responsibility to his kingdom and to the Echo figures in the poem. The analysis concludes with a comparison of the specific handling of the Narcissus myth in the three poems in terms of the various versions of the myth, the treatment of the metamorphosis of Narcissus Into a flower, and the development of the theme of self-love. The thesis establishes the significance of the Narcissus myth in The Book of Thel, Alastor and Endymion, and evaluates Blake's, Shelley's and Keats's contribution to the attempts of the Renaissance writers to introduce the Ovidian story into English literature. / Arts, Faculty of / English, Department of / Graduate

In this study the author compares the broad outlines of Blake's and Dickinson's thought, pointing out evidence of decisive Biblical influence not only on the content of their thought but on their attitude toward language as well. the author argues that both poets assumed the philosophical position of Job as they interpreted the Bible independently and as they explored many dimensions of experience in the fallen world. The author represents their thought not as a fixed system but as a faith-based pattern of Christian/Platonic questing for truth.

Tesis para optar al grado de Doctor en Literatura Hispanoamericana y Chilena / Como es sabido y Borges (1899-1986) mismo lo señala, pasó su niñez “detrás de una verja con lanzas, y en una biblioteca de ilimitados libros ingleses. Palermo del cuchillo y de la guitarra andaba (me aseguran) por las esquinas” Esta pequeña cita instala una problemática no menor en su obra y que contiene la relación siempre en tensión entre Latinoamérica (periferia) y Europa (centro). La investigación examina especialmente el diálogo interdiscursivo e intercultural entre Borges y dos románticos ingleses: William Blake (1757-1827) y John Keats (1795-1821) a través de la desterritorialización de Tyger y Nightingale del contexto romántico inglés decimonónico y su reterritorialización en la Argentina borgeana moderna / postmoderna del siglo XX. Metodológicamente, se ha realizado un análisis del poema “The Tyger” de Blake y del poema “Ode to a Nightingale” de Keats para dilucidar su significación o significaciones románticas. Posteriormente se ha examinado la obra ensayística, cuentística, lírica de Borges en búsqueda de los significados que él atribuye a tyger y nightingale descubriéndose una polisemia compleja otorgada por sus acercamientos serios o jocosos. En otras palabras, Borges desestabiliza la relación significante /significado de tyger y nightingale y su contexto romántico. Tanto tyger como nightingale diseminan rizomáticamente por la obra de Borges a través de los principios de conexión y heterogeneidad que permiten unirlos a nuevos significados diversos sin que se llegue jamás a un significado definitivo. Borges instalaría una postergación infinita del significado que asemeja un deslizamiento, un rodar, un nomadismo con múltiples entradas y salidas entre los discursos involucrados. (Kristeva, 1980; Derrida, 1975; Deleuze/Guattari, 1997; Barthes, 1974). Aunque la investigación se encuentra aún en progreso, la recodificación que hace Borges de los significantes románticos ingleses tyger y nightingale parece tener importantes implicancias desde la perspectiva del postcolonialismo, ya que el juego literario conducido por Borges establece una relación de paridad con el centro que cuestiona la sujeción periférica de América Latina al centro Europeo.