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Journal articles on the topic 'Blake, William (1757-1827). Jerusalem'

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Published: 20 April 2024

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1

Buckley, Peter J. "William Blake (1757–1827)." American Journal of Psychiatry 162, no. 5 (2005): 866. http://dx.doi.org/10.1176/appi.ajp.162.5.866.

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2

Steil, Juliana. "Traduções de William Blake no Brasil." Revista Letras Raras 7, no. 2 (2018): 58–66. http://dx.doi.org/10.35572/rlr.v7i2.1120.

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Este artigo apresenta um panorama das traduções de William Blake (1757-1827) em língua portuguesa no contexto do sistema literário brasileiro. Traduções em português europeu também são consideradas, uma vez que elas circulam no Brasil e têm sua participação na história da tradução do artista inglês no país. Concentrando-se no material escrito das obras de Blake, o artigo inclui uma breve análise das traduções no que se refere aos elementos poéticos de sua poesia e de sua prosa, em especial das traduções de The Marriage of Heaven and Hell e Songs of Innocence and of Experience, as duas obras ma
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3

Alkayid, Majd M., and Murad M. Al Kayed. "The Language of Flowers in Selected Poems by William Blake: A Feminist Reading." Theory and Practice in Language Studies 12, no. 4 (2022): 784–89. http://dx.doi.org/10.17507/tpls.1204.20.

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The study aims at analyzing the meanings and symbolic implications of flowers in selected poems by William Blake (1757-1827) from a feminist perspective. This paper analyzes the themes and symbolism of different kinds of flowers to explain how William Blake tries to expose the situation of women in the patriarchal nineteenth-century society. The study discusses the language of flowers from a feminist perspective relying on three prominent feminists. First, the study relies on Mary Wollstonecraft (1759–1797) who rejected the patriarchal role of women as submissive and weak. Second, the study ap
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4

Billingsley, Naomi. "Re-viewing William Blake’s Paradise Regained (c. 1816–1820)." Religion and the Arts 22, no. 1-2 (2018): 16–39. http://dx.doi.org/10.1163/15685292-02201001.

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Abstract This article presents a revisionist reading of William Blake’s (1757–1827) twelve watercolor designs for John Milton’s “Paradise Regained” (c. 1816–1820). The designs have previously been dismissed in critical commentary as of little interest to Blake scholarship, or regarded as a narrative merely about Christ’s human nature. This article argues that they are also a visual expression of Blake’s cosmology; it is proposed that the designs express a positive cosmology, in which Paradise is not so much to be regained, as re-viewed. The article argues that Blake emphasizes Christ’s divinit
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5

Yan, Hanjin. "Reforming the Relations of the Sexes: Zhou Zuoren’s Translation and Imitation of William Blake’s Poems about Love and Sexuality." NAN NÜ 22, no. 2 (2020): 313–41. http://dx.doi.org/10.1163/15685268-02220003.

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Abstract This article probes into the motivation behind Zhou Zuoren’s (1885-1967) translation and imitation of the English poet William Blake’s (1757-1827) poems about love and sexuality in the May Fourth era. It situates Zhou’s approach to Blake’s poems in the contemporary context of the New Culture Movement and traces the Japanese and English sources that informed Zhou’s reading of Blake. By analyzing Zhou’s selective use of his foreign sources and his calculated translation of Blake’s poems, it argues that Zhou’s appropriation of Blake was driven by his agenda for unfettered sexuality, free
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6

Picón Bruno, Daniela. "El libro como soporte de la experiencia visionaria en las profecías iluminadas de William Blake y el Libro Rojo de Carl Gustav Jung." Literatura: teoría, historia, crítica 19, no. 1 (2017): 63–85. http://dx.doi.org/10.15446/lthc.v19n1.60564.

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En este artículo reflexionamos sobre dos obras pertenecientes al mundo moderno y contemporáneo en las que el manuscrito iluminado es utilizado como soporte de registro de la experiencia visionaria: los Libros Proféticos Iluminados de William Blake (1757-1827) y el Libro Rojo de Carl Gustav Jung (1875-1961). Estos autores consideraron el manuscrito iluminado como un formato más auténtico para la transmisión de sus visiones, ya que permitía superar la dimensión puramente estética del arte y convocar una síntesis entre la materia y el espíritu propio del pensamiento simbólico del neoplatonismo de
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7

Cornils, Ingo. "Editorial." Literatur für Leser 38, no. 1 (2015): 1–3. http://dx.doi.org/10.3726/90071_1.

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Erfahrung, so der englische Dichter William Blake (1757-1827), kostet den Menschen alles was er hat.1 Für den deutsch-schweizerischen Schriftsteller Hermann Hesse (1877-1962), der dem englischen Mystiker in seiner Unbedingtheit auf vielfältige Weise ähnelt,2 trifft diese Maxime sicherlich im besonderen Maße zu. Aufgewachsen in einer pietistisch frommen Familie, wurde sein ,Eigensinn‘ von frühester Jugend an systematisch herausgefordert. Eltern und Lehrer versuchten mit allen Mitteln, seinen Willen zu brechen: eine brutale Form der Erziehung, die der junge Hesse mit Eskapaden, Flucht und einem
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8

Baradaran Jamili, Leila, and Sara Khoshkam. "Interrelation/Coexistence between Human/Nonhuman in Nature: William Blake’s Songs of Innocence and Songs of Experience." Advances in Language and Literary Studies 8, no. 4 (2017): 14. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.14.

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This paper considers the interrelation and coexistence between human and nonhuman in nature in William Blake’s (1757-1827) Songs of Innocence and Songs of Experience (1789-1794). The paper looks at his poems in the light of ecocentrism, especially the theories of Lawrence Buell (1939- ) and Ashton Nichols (1953- ), who articulate ecocentrism as a word which expresses the interconnection between human and nonhuman in nature and environment. The word, ecocentrism, denotes nature and environment as the central and essential parts of the world to represent them as a web or system wherein all membe
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9

Conrad, Leon. "Roots, shoots, fruits: William Blake and J M Robertson: two key influences on George Spencer-Brown's work and the latter's relationship to Niklas Luhmann's work." Kybernetes 51, no. 5 (2022): 1879–95. http://dx.doi.org/10.1108/k-11-2020-0726.

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PurposeBlake is relatively well-known, but who was J M Robertson? What's his connection with George Spencer-Brown? And how exactly did J M Robertson influence George Spencer-Brown?Design/methodology/approachGeorge Spencer-Brown (1923–2016) is the author (among other works) of the undeservedly little-known book, Laws of Form (1969/2011), which was a key inspiration for Niklas Luhmann (1927–1998). But what inspired George Spencer-Brown? This paper explores two key influences on George Spencer-Brown and his work: the English poet and artist, William Blake (1757–1827) and the Scottish rationalist,
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10

Soltan Beyad, Maryam, and Mahsa Vafa. "Transcending Self-Consciousness: Imagination, Unity and Self-Dissolution in the English Romantic and Sufis Epistemology." International Journal of Linguistics, Literature and Translation 3, no. 8 (2021): 08–18. http://dx.doi.org/10.32996/ijllt.2021.4.8.2.

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English Romantic literature of the late eighteenth and early nineteenth centuries often recounts an individual life journey which depicts physical and spiritual pilgrimage and traverses both the inner and outer world to liberate the self and reach a revelatory moment of unification where the division between human mind and the external world is reconciled. For the Romantic poets this reconciliatory state cannot be achieved through rational investigation but via the power of imagination. In this regard, there is striking resemblance between the mystical and philosophical thought of Sufism and t
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11

Zamith Cruz, Judite. "Marina. Lucchesi, Marco. Santo André (SP): Rua do Sabão, 2023." EccoS – Revista Científica, no. 67 (December 18, 2023): e25392. http://dx.doi.org/10.5585/eccos.n67.25392.

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Jogo de espelhos e palavras Analogias duma beleza transitiva Foi entre “formigas e cupins”[1] que descobri e inventei por “ver” o que lia. Do jardim a casa, numa aprazível “distração”, li Marina (do latim, marinus, “marinho”). Se ia em busca de cupins, absorvi-me logo numa bela atividade intrínseca de “ler” a natureza humana. Os estados/processos emocionais deram-se ao meu sonho acordado, frente à lua cheia. Por contraste mínimo, o que acontece no sonho propriamente dito é antes uma não narrativa, uma dissociação não controlada, exibida a superfície de fundo inacessível[2], graciosa alternativ
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12

"William Blake, 1757-1827." Choice Reviews Online 28, no. 07 (1991): 28–3689. http://dx.doi.org/10.5860/choice.28-3689.

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13

Bentley, Jr., G. E. "W. S. Blake: New Facts and Engravings." Blake/An Illustrated Quarterly 49, no. 3 (2016). http://dx.doi.org/10.47761/biq.163.

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William Stadden Blake (1748–1814), engraver and printer of 16 ’Change Alley, has a claim upon our attention chiefly because he shares two of his names with William Blake (1757–1827), engraver, printer, artist, and poet. When references of 1770–1827 to engravers named Blake are found, it may be difficult to determine which Blake is intended. It is therefore useful to record newly discovered facts about W. S. Blake and note differences between his career and that of the poet.
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14

Ferreira, Michelle. "William Blake (1757–1827): Visiones en el arte británico, CaixaForum Madrid." Blake/An Illustrated Quarterly 47, no. 2 (2013). http://dx.doi.org/10.47761/biq.121.

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In the long, heat-filled days that compose a typical Spanish summer, an exhibition of William Blake’s work appeared in Madrid, the first in Spain since 1996. A collaboration between Spain’s La Caixa Foundation—also the organizers of the nation’s first showing of Blake in 1996—and Tate Britain, the exhibition presented Blake as a leading icon of British art, a rebel artist who inspired subsequent generations of artists.
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15

Aranguiz Kahn, Luis. "El jardín perverso, o William Blake contra la religión." ESLA English Studies in Latin America, no. 7 (July 2014). http://dx.doi.org/10.7764/esla.62095.

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En el siglo XVIII Inglaterra vio nacer a quien posteriormente sería uno de los poetas más renombrados de su tradición literaria. Nos referimos a William Blake (1757-1827). Blake se destacó no sólo por la escritura de lo que se ha denominado poesía visionaria, sino porque además practicó las artes del grabado y la pintura. El ejercicio de estas tres áreas estaba en directa relación con un profundo misticismo que quedó impregnado en su obra.
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16

Calè, Luisa. "Blake and Exhibitions, 2020." Blake/An Illustrated Quarterly 55, no. 1 (2021). http://dx.doi.org/10.47761/biq.287.

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2020 exhibitions placed Blake within artistic traditions of drawing in The Artful Line at the Harris and of wood engraving in Scene through Wood at the Ashmolean. His role within a surrealist genealogy was reinterpreted in British Surrealism at Dulwich Picture Gallery, which took the International Surrealist Exhibition of 1936 as a starting point and measured its impact on British surrealists since then. Facsimiles of his Gray watercolors were the inspiration for contemporary poets in The Bard: William Blake at Flat Time House. While the Tate retrospective reconstructed Blake’s coordinates thr
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17

Erle, Sibylle. "Tracey Emin and William Blake in Focus, Tate Liverpool, September 2016–September 2017." Blake/An Illustrated Quarterly 52, no. 3 (2019). http://dx.doi.org/10.47761/biq.230.

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In Liverpool, as part of Tate Liverpool’s In Focus series, Tracey Emin (b. 1963) and William Blake (1757–1827), two London-based artists, shared exhibition space for almost a year. The intention, according to Tate Liverpool’s web site, was to show “a shared concern with birth, death and spirituality in both artists’ work.” The highlights of the exhibition, it says, included My Bed (1998) and drawings by Emin, Blake’s large color print Pity (c. 1795, Butlin #310), presented to the Tate in 1939 by W. Graham Robertson, and the ink and watercolor painting The Crucifixion: “Behold Thy Mother” (c. 1
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18

Simpson, Philippa. "Michael Phillips, ed., <i>William Blake (1757–1827): Le Génie visionnaire du romantisme anglais</i>." Blake/An Illustrated Quarterly 45, no. 1 (2011). http://dx.doi.org/10.47761/biq.77.

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The title of the 2009 Petit Palais exhibition and its accompanying catalogue offers an extraordinarily loaded and complex epithet: “The Visionary Genius of English Romanticism.” Both the show and the book, an illustrated collection of essays and other reactions written in or translated into French, were clearly shaped by the need to (re)introduce Blake to a French audience. As is pointed out more than once in the book, there had been no major exhibition of Blake’s art in the country since 1947. Indeed, for the second half of the twentieth century Blake’s reputation had rested largely on his wr
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