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Adudu, Husnul Hatima, and Dahlia Husain. "SEMIOTIC ANALYSIS IN WILLIAM BLAKE POEMS." British (Jurnal Bahasa dan Sastra Inggris) 8, no. 1 (July 1, 2019): 39. http://dx.doi.org/10.31314/british.8.1.39-54.2019.
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Semiotic Analysis in William Blake Poems. The problem in this research is how to apply Riffaterre’s theory. This research focused on semiotic of Riffaterre’s theory in William Blake poems, titled The Sick Rose, My Pretty Rose Tree, and The Garden of Love. The method that used in this research was descriptive qualitative method. The data that used in this research was a written record in the form of three poems by William Blake. Three poems in question were The Sick Rose, My Pretty Rose Tree, and The Garden of Love. The technique used to collect data in this research was the technique of reading log. The researcher used the Riffaterre’s theory to analysis the poems. Based on the analysis, it can be concluded that poem The Sick Rose and The Garden of love depict of live before France Revolution occurred, and poem My Pretty Rose Tree describe about the author’s feeling to his wife.
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Kanceff, Emanuele. "William Blake, Selected Poems." Studi Francesi, no. 148 (XLX | I) (April 1, 2006): 192. http://dx.doi.org/10.4000/studifrancesi.30751.
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Garnida, Susie Chrismalia, and Mateus Rudi Supsiadji. "METHODISM IN WILLIAM BLAKE'S THE CHIMNEY SWEEPER." ANAPHORA: Journal of Language, Literary and Cultural Studies 1, no. 1 (July 31, 2018): 29–32. http://dx.doi.org/10.30996/anaphora.v1i1.2087.
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This article explores one of Blake's poems entitled The Chimney Sweeper which sees gloomily the condition of child labour during the industrial revolution in Britain. In the poem, it seems that Blake critizes the use of children to work for family income. Especially, this article discusses Blake’s ironical discussion on the Methodism's teaching to work hard in order to have the eternal life in the poem.
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Sinthya, Fingky, Dahnilsyah Dahnilsyah, and Erni Erni. "An Analysis of Conceptual Metaphor in the Poems Entitled “Classic Poetry Series” by William Blake." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 10, no. 2 (December 31, 2022): 1655–61. http://dx.doi.org/10.24256/ideas.v10i2.3368.
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This research aims to analyze the types of metaphors used and contained meanings contained in a collection of poems by William Blake. A metaphor is a part of figurative language that compares one thing to another. The researcher used a descriptive employed in study qualitative method to identify a collection of classic poetry by William Blake. The researcher uses the theory of Lakoff, George, and Johnsen (2003) to analyze the conceptual metaphors that shape the reality of 'life' which is reflected in poetry. There are three steps in collecting research data: observation, selection, and classification. This research result shows that ninety-five metaphorical lyrics are contained in the ten of classic collections of poetry by William Blake. The data were gathered using a collection of poems from three types of conceptual metaphors: structural, orientational, and ontological. The types of metaphors found in this research are ontological metaphors. And in reverse, the meaning of each metaphor depends on the type used in the poem. In conclusion, the poems by William Blake have a high imagination based on experiences as well as advice to the readers.
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Keshavarzian, Ramin, and Pyeaam Abbasi. "Visions of the Daughters of Albion: The Influence of Mary Wollstonecraft’s Life and Career on William Blake." International Letters of Social and Humanistic Sciences 40 (September 2014): 48–63. http://dx.doi.org/10.18052/www.scipress.com/ilshs.40.48.
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The present study discussed the influence of one of the eighteenth-century British women of color, the feminist Mary Wollstonecraft, on William Blake. By adopting a biographical and also a comparative approach, the authors tried to highlight the influences of Wollstonecraft‟s personal life, character, and career, chiefly her A Vindication of the Rights of Woman (1792), on one of William Blake‟s less-referred-to poems Visions of the Daughters of Albion (1793). The study will help readers to both know Wollstonecraft‟s prominence and also to grasp more of William Blake and his poetry. The authors also attempted to show that William Blake was part of the early feminism of the late eighteenth century.
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Klafkowski, Piotr. "A personal look at three Swedish poets: Carl Michael Bellman, Esaias Tegner, Erik Johan Stagnelius." Studia Rossica Gedanensia, no. 4 (December 30, 2017): 368–87. http://dx.doi.org/10.26881/srg.2017.4.23.
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The paper is the author’s personal homage to his three favourite Swedish poets. It attempts at showing the Polish readers that Sweden, too, had its share of great poets, as Swedish poetry is almost wholly unknown in Poland. Carl Michael Bellman is compared with his contemporary Robert Burns, Esaias Tegner is presented in the context of epic poems of Denmark and Norway, whereas Erik Johan Stagnelius – in comparison with John Keats and William Blake.
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Serdechnaya, Vera V. "«Russian Theme» in William Blake’s Works." Proceedings of Southern Federal University. Philology 2020, no. 4 (December 25, 2020): 137–45. http://dx.doi.org/10.18522/1995-0640-2020-4-137-145.
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The article is devoted to the factors and evidences of William Blake’s interest in Russia, Russian places and politicians. An analysis of Blake’s works, especially his prophetic poems, confirm that Russia, Russian territories, and in particular the Russian Empress Catherine II, were interesting to Blake and were manifested in many ways in his works. Blake counts Russia and its territories in his great prophecies Milton and Jerusalem. The mention of Poland and Siberia, Tartaria, and Russia separately indicates that the spiritual geography of Blake’s works did not exactly correspond to the current administrative division of the world. There is a reason to believe that the image of the Russian Empress Catherine II was for Blake the embodiment of the sinister Female Will and became a model for the harlot of Babylon, captured by him in a portrait of 1809, as well as one of the prototypes of the powerful demiurge-spinner Enitharmon in prophetic poems. In politics, the end of the XVIII century, there was no ruler who would more embody the concept of female power than Catherine II.
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G, Dr Jeyashree. "ON DECODING THE TRAJECTORY OF CONSCIOUSNESS IN BLAKE’S POETRY." Journal of English Language and Literature 09, no. 02 (2022): 72–80. http://dx.doi.org/10.54513/joell.2022.9210.
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Poetry is defined as spontaneous overflow of feelings recollected in tranquility by one of the remarkable poets of the romantic age William Wordsworth. Human beings are conditioned by emotions and feelings that come out in varied forms like paintings, sculptures, poetries etc. An artist absorbs elements that prevail around him and effuses in art forms. An artist is adept at reading the nuances of socio economic and political impact of the society and shares his/her thoughts through their artistic products. Unless there is a balance maintained between the emotional and intellectual quotient, an art cannot reach the audience. Critics speculate the language and the content of poetry. Language is a channel of expression where the poets try to exploit to reach the audience effectively. William Blake is one of the remarkable poets of the Romantic age and the paper attempts to unveil the submerged consciousness of the poet reflected through his poems. Short poems are pecked for the study to illumine the impact of the contemporary society on the psyche of the poet. Literature mirrors a society and aspiring scholars can certainly accrue knowledge by perusing the literature of the past. The elements of romanticism in Blake’s poems are elicited and the poetic devices reflect in his poems are explored. Blake’s poems reflect multi layered emotions firmly anchored in ethos and pathos that permeate in the social lives of the people. The elements of romanticism in his poems are discussed.
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Serdechnaia, Vera. "Blake's Russian literary heir: Based on unpublished poems by Boris Anrep." Literary Fact, no. 15 (2020): 352–65. http://dx.doi.org/10.22455/2541-8297-2020-15-352-365.
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The article deals with unpublished poems by Russian poet and artist Boris Anrep, which are studied in the context of developing the traditions of English romantic epical poems. The research of these poems as evidence of creative dialogue between Anrep and the prophetic poetry of William Blake is proposed. The research considers the epics “Vladimir”, “Creation of the world” and “Creation of man” written by Anrep in the 1900s, before he emigrated from Russia, and are kept in the archive of N. Nedobrovo (Personal collection of the Manuscript Department of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences). The methods of comparative literature studies and those of analysis, synthesis and generalization are used. The idea is substantiated that Anrep, already in his early poetic work, inherits in many respects the poetics and themes of William Blake's prophetic books, which he knew in childhood. The author identifies the commonality in the figurative system of poems Anrep and Blake: the characters are elements, giants, generalized natural phenomena. The gravitation of Anrep to a combination of physiology and philosophy, synthesis of author's inference and mimetic descriptions also testifies to influence of romantic lyre-epics. It is concluded that the early poems of Boris Anrep, as well as his later works (“The Man”, “Fiza”, “Foreword To The Book Of Anrep”), are in many ways an attempt to embody in Russian the principles of English romantic poetry, primarily the prophecies of William Blake. The reception of these poems in the work of the artist Dmitry Stelletsky has been studied. It has been proved that such an example of the reception of English romanticism in general is typical for the culture of the Silver Age, which rediscovered European early romanticism (Poe, Novalis, Hölderlin) and felt it as modern art.
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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 (April 2, 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 applies Virginia Woolf’s feminist perspective about rejecting the role of women as the angels of the house. Third, the study applies Simone de Beauvoir’s rejection of categorizing women as subjective and inferior. William Blake is an early feminist who rejected the submission of women and used his poetry to comment on the situation of women in the nineteenth century. He expresses many issues related to women. He believed in women’s ability to be independent and strong and he refutes the traditional social stereotyping of women as being inferior and weak and therefore they are in constant need of the support of men. Blake stresses the beauty and strength of women through describing women in floral imagery.
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Ferrara, Mark S. "Ch’an Buddhism and the Prophetic Poems of William Blake." Journal of Chinese Philosophy 24, no. 1 (February 10, 1997): 59–73. http://dx.doi.org/10.1163/15406253-02401004.
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FERRARA, MARK S. "CH'AN BUDDHISM AND THE PROPHETIC POEMS OF WILLIAM BLAKE." Journal of Chinese Philosophy 24, no. 1 (March 1997): 59–73. http://dx.doi.org/10.1111/j.1540-6253.1997.tb00197.x.
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Serdechnaia, Vera V. "WILLIAM BLAKE IN THE SOVIET RECEPTION: FORMING THE IMAGE OF ‘REVOLUTIONARY ROMANTIC’." Вестник Пермского университета. Российская и зарубежная филология 12, no. 4 (2020): 136–46. http://dx.doi.org/10.17072/2073-6681-2020-4-136-146.
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The article is devoted to a scantily explored aspect of the Russian reception of William Blake: the justification of the poet in Soviet criticism as a ‘revolutionary Romanticist’. The purpose of the article is to characterize strategies for understanding the heritage of William Blake by Soviet critics. Soviet Blake was officially ‘born’ in 1957 – after the World Peace Council’s decision on celebrations of the poet’s bicentennial. Blake, with a reputation tainted by the Symbolists, needed serious justification in Soviet literary criticism. The arguments for his justification were the revolutionary pathos of his poems, his democratic background and his humanism. It was important to emphasize Blake’s proximity to the working class. To introduce Blake into the literary field of Soviet criticism, it was necessary to justify his religiosity; the key to this justification was his humanism and the democracy of his faith. Blake’s prophetic poems were interpreted as the product of creative decline generated by the poet’s tragic social loneliness. Soviet criticism condemned Balmont’s translations and praised Marshak’s ones. Making Blake primarily a revolutionist, Soviet critics came to unexpected comments close to vulgar sociologism. In Soviet criticism, Blake was a missing link in the development of the ‘revolutionary’ chain of anti-tyrannical poetry. The author of the paper collects and classifies references to Blake in Soviet literary and artistic criticism, introduces some little-known facts of reception, classifies and generalizes the Soviet view of Blake as a ‘revolutionary Romanticist’, characterizes the genesis and content of this approach. The author applies the cultural-historical and comparative-historical methods as well as the principles of receptive aesthetics.
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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 (December 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 love, and women’s emancipation, i.e. the reform of the relations of the sexes in China. This study goes on to investigate Zhou’s reference to and imitation of Blake in the controversy over a young poet’s writing of love poems in 1922. It further contends that Zhou’s concern for sex relations was part and parcel of his vision of modern Chinese poetry, which resonates with his earlier and far-reaching proposal for a literature of humanity that profited from Blake’s theory of the unity of body and soul.
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Oroskhan, Muhammad Hussein. "Devotional Mysticism: An Analogical Study of Hafez-e Shirazi and William Blake." Theory and Practice in Language Studies 11, no. 5 (May 1, 2021): 475–80. http://dx.doi.org/10.17507/tpls.1105.03.
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Mysticism is a method of thinking not wildly shared by the majority of the people around the entire world whereas unique individuals sap at the roots of this concept. Less a coherent movement than a way of thinking, the concept of mysticism is not systematically defined as a firm set of ideas but is more tended to be shaped by the individuals dealing with this concept. In this respect, each person carries this notion in his further exploration on his own accord since the concept is highly individualistic. As such, William Blake directed the concept toward a sort of devotional mysticism emphasizing on the individual's hard effort in achieving unity with God. In a similar manner, Hafez-e Shirazi, a classical Persian poet, undertook more or less the same method in signifying the notion of mysticism to his further investigations in his poems. Hence, through this paper, an attempt is made to explore the poems of these two poets regardless of their different cultural and geographical backgrounds to prove that each poet more or less has applied the same method called devotional mysticism in achieving unification with God. Moreover, the aforementioned research is based on the theoretical framework of comparative literature propounded by Francoise Jost and developed and expanded by Shunqing Cao in their seminal works on comparative literature.
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Torralbo, Juan de Dios. "“Beauty is truth”: Carlos Clementson, traductor de los románticos ingleses." Monteagudo, no. 27 (March 9, 2022): 379–407. http://dx.doi.org/10.6018/monteagudo.487171.
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This paper examines the translations of the English Romantics by the Cordoban poet Carlos Clementson, who put works by these eight poets into Spanish: William Blake, Robert Burns, William Wordsworth, Samuel Taylor Coleridge, Joseph Blanco White, Lord Byron, Percy Bysshe Shelley and John Keats. For their study, the analysis models proposed by James Holmes (1970) and Armin Paul Frank (1990) are applied, with the aim of exploring not only morphosyntactic and semantic correlations between the original texts and their translations, but also the prosodic patterns of the target texts with respect to the external form of the source texts. In addition, in order to draw contrasts and to enrich the work, other translations of the same poems are cited, by Alberto Lista, Marià Manent, Ángel Rupérez, Antonio Ballesteros González, Santiago Corugedo, José Luis Chamosa, José María Valverde and Leopoldo Panero. Este capítulo investiga las traducciones de los románticos ingleses realizadas por el poeta cordobés Carlos Clementson, las cuales proceden del legado de estos ocho autores: William Blake, Robert Burns, William Wordsworth, Samuel Taylor Coleridge, Joseph Blanco White, Lord Byron, Percy Bysshe Shelley y John Keats. Para su estudio, se aplican los modelos de análisis propuestos por James Holmes (1970) y Armin Paul Frank (1990) con el objetivo de explorar no solamente las correlaciones morfosintácticas y semánticas, sino también los esquemas prosódicos de los textos meta respecto a la forma externa de los textos fuente. Asimismo, por razones de contraste y para enriquecer el trabajo, se aportan otras traducciones de los mismos poemas realizadas por Alberto Lista, Marià Manent, Ángel Rupérez, Antonio Ballesteros González, Santiago Corugedo y José Luis Chamosa o José María Valverde y Leopoldo Panero.
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Serdechnaia, Vera V. "William Blake in Contemporary Russian Literature and Culture." Imagologiya i komparativistika, no. 15 (2021): 71–88. http://dx.doi.org/10.17223/24099554/15/4.
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The article discusses the creativity of the English romantic William Blake comprehended in contemporary Russian literature and culture. These facts are quite significant, since many Russian thinkers and writers, such as Igor Garin and Merab Mamardashvili, mention Blake in their works. Blake, partly remembered as a symbolist and mystic, loomed large in the cultural universe of the Moscow mystical “Yuzhinsky” circle, members of which were, in particular, Yuri Mamleev, Yevgeny Golovin, Alexander Dugin, Yuri Stefanov. For them, Blake was an integral part of the great Tradition or ancient knowledge, lost by the civilization. Blake has been mentioned and quoted in the prose by Yuri Buida, Alexey Gryakalov, Ivan Ermakov, Ksenia Buksha, Oleg Postnov and in the poetry by Olga Kuznetsova, Maria Galina, Alla Gorbunova, Maxim Kalinin and others. Andrei Tavrov enters into a creative dialogue with the English Romanticist in his poetic cycle Lament for Blake (2018). Tavrov creatively renders Blake’s metaphysics of human physiology. The poem “Blake. Sparrow” shows an impressive fusion of Blake’s motives and lyrics. in particular, the multilevel character of the mythological world (from Ulro to Eden), conversations with Angels and traveling through the stars in “The Marriage”, the image of a sparrow and a visionary bird in general, images of insects guided through the night (“Dream”), the image of Milton like the meteorite in the heel of the narrator, the figure of Flaxman and the philosophy of creation by the word. In Tavrov’s work, Blake inhabits in a bizarre world of metaliterature, including Gogol and Derzhavin, Velasquez and Newton, Lear and Oedipus, Pan and Melchizedek. Blake, as the creator of overlapping worlds, becomes for Tavrov the key to the total poetization of the universe; where a transition is made from the hermetic principle “as above, so below” to the principle “everything in everything”. This principle turns out to be the most important for contemporary poetry. Blake’s paintings and drawings have become a part of Russian book culture: the famous engraving of the Creator God with a compass “The Ancient of Days” is often used in book graphics; the Moscow conceptualist Viktor Pivovarov, the author of samizdat, admitted that Blake inspired him with his experience in book printing. Blake’s influence can also be seen in the works of contemporary sculptor Alexander Kudryavtsev (1938–2011), namely, his ceramic fresco “The Creation of the World”. Thus, Blake, who came, among others, through the work of The DOORS and Jarmusch’s Dead Man, plays a significant role in the space of contemporary Russian literature. In these terms, the most significant of his works are “Songs” and “The Marriage of Heaven and Hell”, as well as mystical revelations of prophetic poems and his creative life of a genius unrecognized during his lifetime in general.
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Wang, Yilin. "The Revelation of Social Reality in the Poetry of William Blake." BCP Education & Psychology 7 (November 7, 2022): 392–99. http://dx.doi.org/10.54691/bcpep.v7i.2693.
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As one of the most outstanding representatives of the Pre-Romanticism poet in the 18th century English literature, William Blake lived through and witnessed an era of great political and social upheaval and transitional period: the American War of Independence, the French Revolution, and the Industrial Revolution which brought significant and essential impact on social and historical progress in England. Coming from the social injustices and the coverage of the dark side of industrial England, Blake caught the pulse of his times through his sharp and deep insight, condemned the oppression and exploitation derived from the authority, tyranny and church, and also called on the oppressed to shatter “the mind-forged manacles” come from the ruling class. In this paper, I want to introduce and interpret the revelation of social reality in the poetry of William Blake by analyzing some of Blake’s poems in terms of main ideas, rhetorical devices, and historical contexts which are underlay and concealed in his poetry deeply.
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Nawaf Jaber Alhomoud, Ghassan. "A Critical Analysis of William Blake’s Short Poems: Depth in Simplicity." Arab World English Journal For Translation and Literary Studies 6, no. 4 (October 24, 2022): 102–12. http://dx.doi.org/10.24093/awejtls/vol6no4.8.
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The investigation’s goal is to examine a selection of William Blake’s short poems. The study discovered that, in contrast to other shorter works on the same theme, reviewers and scholars saw Blake’s “Songs of Innocence and of Joy” as a depiction of his subtle and profound poetry. Blake’s writings were studied to discover this. By examining the strong themes in Blake’s little poems, the study hopes to demonstrate that works like “Visions of the Daughters of Albion,” “America,” “The Book of Arisen,” and a few stanzas from his word-books are just as significant as “Songs of Innocence and of Enjoy.” Blake’s problem is the study’s focus. He must begin by stating his main point. Blake addresses four issues in his poetry. Subjects: God, love, faith, and innocence. Blake’s short poems are approached more interpretively than stylistically.
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Palupi, Muji Endah. "AN ANALYSIS OF FIGURATIVE LANGUAGE USED IN POEM OF THE ECHOING GREEN BY WILLIAM BLAKE." Journal of English Language and Literature (JELL) 6, no. 2 (September 4, 2021): 9–20. http://dx.doi.org/10.37110/jell.v6i2.131.
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The purpose of this research is to study an analysis of figurative language in poetry. People are interested in reading literary books because reading literary books makes them to understand about life, human and nature. Reading literary books can get pleasure. The language used in poetry make more complex. Figurative language can make create interesting poetry. It is important to know the meaning of poems. Sometimes people read poetry without understanding the meaning conveyed. Poetry is a collection of words that express emotions or ideas into a literary text. In poetry there are many elements of language. English poetry can help students to improve their vocabulary skills. Poetry improves skills in listening word for word conveyed from the reader of the poem. Poetry analysis examines the elements of language to understand literary works as a whole. Analyzing a poem line by line allows you to learn about its structure, form, language, metric patterns, and themes. Hopefully this research can be widely accepted so that readers will be interested in knowing more about poetry and it is nuances
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Gooch, Bryan N. S., Donald Fitch, and William Blake. "Blake Set to Music: A Bibliography of Musical Settings of the Poems and Prose of William Blake." Notes 48, no. 1 (September 1991): 107. http://dx.doi.org/10.2307/941798.
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Ardhani, Olyvia Vita. "Stylistic Analysis on William Blake's The Little Boy Lost." Jadila: Journal of Development and Innovation in Language and Literature Education 1, no. 2 (November 10, 2020): 175–81. http://dx.doi.org/10.52690/jadila.v1i2.52.
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This research presented the stylistic analysis of a poem by William Blake, The Little Boy Lost. The poem was chosen as it becomes Blake's one of well-known poems in his Song of Innocence. Moreover, this poem uses simple structure and dictions, but it conveys a profound meaning. This research aimed: (1) to discover how the language level in the poem used and (2) to find out the interpretation of the poem. The stylistic analysis aimed at observing the meaning of either literary or non-literary text by the language device used. The researcher conducted a data population method in analyzing the poem. There were four language levels to achieve the goal; they were phonological, graphological, lexical, and syntactic level (Verdonk: 2002). In the phonological level, assonance, consonance, and alliteration were used to emphasize important words. In the graphological level, the comma in the last line of stanza 1 is prominent to distinguish the different speakers. In the lexical level, metaphor was used to voice the little boy's hopes to find enlightenment to get out of his difficulties. Meanwhile, symbolism conveys a deeper meaning than the literal meaning. In the syntactic level, the tenses switching used to emphasize the different speakers and the comma in the graphological level; and the word repetition used to create the little boy's sense of innocence.
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Leporati, Matthew. "New Formalism in the Classroom: Re-Forming Epic Poetry in Wordsworth and Blake." Humanities 8, no. 2 (May 20, 2019): 100. http://dx.doi.org/10.3390/h8020100.
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Recent years have seen a resurgence of interest in “New Formalism,” a close attention to textual language and structure that departs from the outdated and regressive stances of old formalisms (especially “New Criticism”) by interrogating the connections between form, history, and culture. This article surveys the contributions of New Formalism to Romanticism studies and applies its techniques to two canonical texts, suggesting that New Formalism is useful both for literary criticism and teaching literature. Opening with a survey of New Formalist theory and practices, and an overview of the theoretical innovations within New Formalism that have been made by Romantic scholars, the article applies New Formalist techniques to William Wordsworth’s Prelude and William Blake’s Milton: a Poem. Often read as poems seeking to escape the dispiriting failure of the French Revolution, these texts, I argue, engage the formal strategies of epic poetry to enter the discourse of the period, offering competing ways to conceive of the self in relation to history. Written during the Romantic epic revival, when more epics were composed than at any other time in history, these poems’ allusive dialogue with Paradise Lost and with the epic tradition more broadly allows them to think through the self’s relationship to the past, a question energized by the Revolution Controversy. I explore how Wordsworth uses allusion to link himself to Milton and ultimately Virgil, both privileging the past and thereby asserting the value of the present as a means of reiterating and restoring it; Blake, in contrast, alludes to Milton to query the very idea of dependence on the past. These readings are intertwined with my experiences of teaching, as I have employed New Formalism to encourage students to develop as writers in response to texts. An emphasis on form provides students with concrete modes of entry into discussing literature and allows instructors to help students identify and revise the forms and structures of their own writing in response to literature.
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Sultan, Dr Muthanna Mohammed. "Colonialism Revisited: Reading in Selected Poems of the Nineteenth Century." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (March 11, 2018): 165–78. http://dx.doi.org/10.36473/ujhss.v224i1.253.
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This paper will try to discover and discuss the colonial contentsof some of the nineteenth-century British poets. At that time, the colonial ideology and impetus were increasingly elevated and demanded as the British Empire notably expanded and significantly flourished. Colonialism was among the main aspects in the British political and social life. Literary figures and scholars dealt with thisnewly-born phenomenon differently; some welcomed and adhered it, while others showed some doubts and suspicion. There was no unified thread about the colonial project the Europeans held. Did exist there a kind of consensus? Or was there a sense of ambivalence about it? This paper is going to address these issues and attempt to reach at some plausible answers and results. To do this, the paper will analyze a group of poems by William Blake, Samuel Taylor Coleridge, Alfred, Lord Tennyson, and Rudyard Kipling.
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Davidson, Ryan J. "A proposal for Revaluation: Points of Contact and Sides of Likeness between William Blake and Walt Whitman." Hawliyat 18 (July 11, 2018): 61–76. http://dx.doi.org/10.31377/haw.v18i0.78.
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This article proposes an approach to evaluating the relationship between William Blake and Walt Whitman. I begin by grounding my proposal in a critical framework. It is framed by a book history approach, but also an approach to 19th century American literature as a post-colonial literature. In regards to the book history element I trace an outline of Blake’s publication history and the poems of Blake’s that Whitman might have encountered. I then provide examples of the similarities between Blake and Whitman. This paper concludes with a discussion of the implications it may have on ideas of literary influence. This is the beginning of a much larger project wherein I trace the actual influences which created the similarities that I outline here.
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Dr. Dharmendra Kumar Singh. "Painting in Poetry and Poetry in Painting: Aesthetic Reflections in D.G. Rossetti." Creative Launcher 7, no. 3 (June 30, 2022): 58–75. http://dx.doi.org/10.53032/tcl.2022.7.3.08.
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Bright eyed and bushy-tailed poems and paintings are very rare, so are their past masters who create them. The history of the world literature is often brimming with such rare authors as are the unparalleled amalgamator of paintings and writings. In this field, the names, which are counted highly with boundless esteem, are of William Blake, Lewis Carroll, Hans Christian Andersen, Elizabeth Bishop, Leo Tolstoy, Lorraine Hansberry, Victor Hugo, Sylvia Plath, George Sand, Jack Kerouac, Herman Hesse, Gunter Grass, Charles Bukowski, Henry Miller, William S. Burroughs, E.E. Cummings, Tennessee Williams, Carlo Levi, J.B. Priestley, and R.N. Tagore. Undisputedly, D.G. Rossetti is one such figure. When the world literature is deconstructed, two clusters of the authors appear on the literary landscape. The first cluster consists of those authors who are painters and writers as well. The painters who have painted the literary pieces of the authors fall into the second cluster. D.G. Rossetti somewhere stands in- between. He is painter (especially illustrator) as well author-poet. But the flabbergasting certitude is that his elite poetry is found in his pieces of mural, and his elite mural in his pieces of poesy. His all creations, be they paintings, or poems, fall in three categories. In the first faction fall such pieces of his poems as are only poems—without any illustration, in the second faction fall such pieces of his paintings as are without poems, while in the third faction fall such pieces of his paintings as are with poems, or with mythical illustrations, or on certain literary pieces. Nothing to say about these groups, but one thing is clear that all of them possess aesthetic reflections. Keeping this very fact in mind, the present article aims at exploring, analyzing, and presenting the three-dimensional view in Rossetti painting and poetry with the help of the textual analysis, visual methods, and descriptive and explorative approach.
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Kerler, David. "Archive Fever and British Romanticism: Blake, Byron, and Keats." Anglia 138, no. 3 (September 15, 2020): 355–83. http://dx.doi.org/10.1515/ang-2020-0034.
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AbstractThe article explores the interrelation of archives, melancholia, and their (de)constructive features in British Romantic poetry. It will argue that the proliferation of archives and archival practices from the late eighteenth century on had a strong influence on the literary‑cultural output of the British Romantics. This shall be scrutinised by drawing on an extended reading of Jacques Derrida’s “Archive Fever” (1995) and Julia Kristeva’s Black Sun, focusing on two basal, closely related aspects: (1) the subject’s feverish desire to archive, and (2) the archive’s (self‑)destructive tendencies. A close reading of paradigmatic writers and their poems (William Blake, Lord Byron, and John Keats) shall illustrate that the notion of “archive fever” turns out to be especially determinant for Romantic subjectivity, aesthetics, and its sujets.
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Flores, Cristina. "William Blake Translated: The Creation of Blake's Literary Fame in Spain." Comparative Critical Studies 15, supplement (June 2018): 117–29. http://dx.doi.org/10.3366/ccs.2017.0228.
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André Lefevere highlights the central role of translations in the creation of literary fame, that is, in ‘the general reception and survival of works of literature among non-professional readers’. Through translations, the image of an author is shaped and projected in different national, historical and cultural contexts. The analysis of the selection of poems translated, and the introduction, notes and annotations that usually accompany those translations, can provide us with a preliminary overview of the presence of an author in a specific country of reception. This is especially true in the case of the reception of William Blake in Spain. The part played by translations, especially the earliest ones, is remarkable because some not only made Blake's work available to a Spanish readership but also provide readers with long introductions that constituted the first and, for a long time, sole critical approach to the British poet in Spanish. This article traces the progressive creation of Blake's literary canon and fame in Spain through the comprehensive analysis of the existing translations, both in Spanish and Catalan.
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Venkataramana, Dr B. "The Songs of Innocence-Blake’s Intuitive Flights into the Realm of the Absolute." IJOHMN (International Journal online of Humanities) 4, no. 5 (October 5, 2018): 1–10. http://dx.doi.org/10.24113/ijohmn.v4i5.57.
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Just like William Wordsworth who came a little later William Blake was known for an absolute sincerity, a mystic renunciation and a boldness of spirit. His originality and individuality, both of which were of a high order, came in the way of his public acceptance and acclaim. His drawings bear the stamp of a “characteristic and inimitable vision”. His poetry is marked by the utmost subtlety of symbolism and the skill with which it is sustained is truly matchless. The philosophical framework of his poetry is no more than a series of “intuitive flights into the realm of the absolute, soaring with tranquil and imperious assurance”. In Blake’s view the world of children, which is not contaminated by experience, is almost heavenly. In fact childhood is like a compensation for the loss of Eden. In the poems of Blake, the divine that is described is Jesus Christ who, even like human children, was a child once and spoke of the merciful and compassionate heavenly father, God. Children are free from cares and conflicts and always in a state of happiness and harmony with the human society around them and nature.
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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 (August 31, 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 members and parts, including human and nonhuman, are related and connected to each other so closely that they cannot exist and live separately and lonely. By human, it refers to who is a creature in the web, who links to other creatures and entities so closely that he cannot be isolated from them. The linkage and coexistence are the matter which can be viewed in some of the poems of William Blake’s Songs of Innocence and Songs of Experience. Blake watches environment and nature carefully, and in some of the poems of two mentioned collections such as “The Echoing Green,” “Nurse’s Song,” “Holy Thursday,” “The School Boy,” to name just a few, he illustrates a situation of life in which human has close relation and connection to other creatures. According to Blake, human and nonhuman have such a vital relationship so that no one can live without the others. All creatures and beings in an organism have an effect on each other, and they are interrelated. The paper shows interconnection and coexistence between human and nonhuman in Blake’s Songs of Innocence and Songs of Experience due to portrayal and representation of nonhuman creatures in the world. It defines some nonhuman terms such as nature and environment and then focuses on the interrelation and coexistence between human and nonhuman in Blake’s Songs of Innocence and Songs of Experience in accordance with ecocentrism.
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Chatterjee, Arnab. "William Golding’s Apocalyptic Vision in Lord of the Flies and Pincher Martin." Prague Journal of English Studies 6, no. 1 (July 26, 2017): 45–56. http://dx.doi.org/10.1515/pjes-2017-0003.
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Abstract Humanity has long been haunted by the notions of Armageddon and the coming of a Golden Age. While the English Romantic poets like Shelley saw hopes of a new millennium in poems like “Queen Mab” and “The Revolt of Islam”, others like Blake developed their own unique “cosmology” in their longer poems that were nevertheless coloured with their vision of redemption and damnation. Even Hollywood movies, like The Book of Eli (2010), rehearse this theme of salvation in the face of imminent annihilation time and again. Keeping with such trends, this paper would like to trace this line of apocalyptic vision and subsequent hopes of renewal with reference to William Golding’s debut novel Lord of the Flies (1954) and his Pincher Martin (1956). While in the former, a group of young school boys indulge in violence, firstly for survival, and then for its own sake, in the latter, a lonely, shipwrecked survivor of a torpedoed destroyer clings to his own hard, rock-like ego that subsequently is a hurdle for his salvation and redemption, as he is motivated by a lust for life that makes him exist in a different moral and physical dimension. In Lord of the Flies, the entire action takes place with nuclear warfare presumably as its backdrop, while Pincher Martin has long been interpreted as an allegory of the Cold War and the resultant fear of annihilation from nuclear fallout (this applies to Golding’s debut novel as well). Thus, this paper would argue how Golding weaves his own vision of social, spiritual, and metaphysical dissolution, and hopes for redemption, if any, through these two novels.
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Aman, Yasser K. R. "The Apocalyptic Image of the Beast in William Blake’s ‘The Tyger’ and W.B. Yeats’ ‘The Second Coming’." Critical Survey 33, no. 3-4 (September 1, 2021): 47–61. http://dx.doi.org/10.3167/cs.2021.33030407.
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The monstrous image created by William Blake in ‘The Tyger’ left the world wrapped in an apocalyptic vision that creates an epiphany of unknown Romantic potentials symbolised in ‘The Tyger’. The apocalyptic vision, deeply rooted in Christian religion, develops into an ominous harbinger of the destruction of the modern world portrayed in W.B. Yeats’ ‘The Second Coming’. The image of the beast marks the difference between two ages, one with strong potentials and the other with fear and resident evil unexplained. I argue that the apocalyptic theory in Christianity has an impact on the development of the image of the beast in both poems, an impact that highlights man’s retreat from Nature into the modern world which may fall apart because of beastly practices.
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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 (August 30, 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 the idealistic thought of the English Romantic poets as they both strive for a sense of unification with the Divine or the Ultimate reality, and they both rely on imagination and intuitive perception to apprehend reality. Applying an analytical-comparative approach with specific reference to Northrop Frye’s anagogic theory (1957) which emphasizes literary commonalities regardless of direct influence or cultural or theological distinctions, this study endeavors to depict that certain Romantic poets’ longing for the reconciliation of subject and object dualism via imagination and its sublime product, poetic language, echoes the mystic’s pursuit of transcendental states of consciousness and unification with the divinely infinite. Through analysis of the concept of self-dissolution (fana) in Islamic mysticism and Sufi literature, particularly the poems of Jalal ad-Din Mohammad Balkhi (1207-1273) known in the West as Rumi, the outcome of this study reveals that the Romantics’ yearning for a state of reconciliation, which is prevalent in the major works of the Romantic poets such as William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Percy Bysshe Shelley (1792-1822), and John Keats (1795-1821), corresponds to the mystic’s pursuit of unity or the Sufi’s concept of self-annihilation or fana.
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Vainshtein, Olga B. "THE STRUCTURE OF THE OTHER WORLD IN CHARLES KINGSLEY’S “THE WATER BABIES”." Folklore: structure, typology, semiotics 5, no. 3 (2022): 45–62. http://dx.doi.org/10.28995/2658-5294-2022-5-3-45-62.
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The fairy tale “The Water-Babies” by the British novelist Charles Kingsley depicts the other world as water kingdom. The boy chimney sweeper Tom gets there having drowned in the river. The paper analyses how the other world is organized to provide the Victorian up-bringing and support the ideas of Darwinian evolution. Tom’s life in water is interpreted as the period of moral transformation and the study of nature. The topography of the other world is structured around the magic Isle of St. Brendan. The boundary between this world and the other world is crossed through mirrors, water surfaces and by looking in the eyes of fairies. “The Water-Babies” are interpreted as part of a specific literary tradition. The article compares different versions of the archetypal plot about a chimney sweeper in English literature. The analysis is focused around the poems about the chimney sweeper by William Blake in “Songs of Innocence” and “Songs of Experience”, narrating the tale of children getting into the other world and the following Redemption. “The Three Sleeping Boys of Warwickshire” by Walter de la Mare is the final text in this tradition. In conclusion we examine beliefs about chimney sweeper in folklore sources and in particular the connection between chimney sweeper and good luck.
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Clinton, Daniel. "Line and Lineage." Nineteenth-Century Literature 73, no. 1 (June 1, 2018): 1–29. http://dx.doi.org/10.1525/ncl.2018.73.1.1.
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Daniel Clinton, “Line and Lineage: Visual Form in Herman Melville’s Pierre and Timoleon” (pp. 1–29) This essay examines Herman Melville’s reflections on form, line, and perspective in his novel Pierre (1852) and his poems on art and architecture in Timoleon (1891), a late book of verse partly inspired by his tour of the Mediterranean during 1856–57. I argue that Melville arrives at his understanding of literary form through the language of optical perspective, particularly the terms of “foreshortening” and “outline.” I compare Melville’s figurative conception of outline with the artistic theories and practices of William Blake, George Cumberland, John Ruskin, and the artist John Flaxman, whose illustrations of Homer and Dante feature prominently in Pierre. Widely circulated as engravings by Tommaso Piroli and others, Flaxman’s clean-lined drawings fascinate Melville because they emphasize implied narrative rather than optical verisimilitude. Melville responds to a romantic discourse that positions “outline” on the conceptual boundary between sense-perception and free-floating thought, as a mediating term between competing notions of art’s truth. In both his fiction and poetry, Melville’s reflection on the materiality of pictures doubles as a reflection on the materiality of thought. The formal features of visual art suggest the workings of the mind as it flattens unconscious possibilities and disparate truths into a manageable picture of the world.
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Muñoz, Adrián. "The Devil's Party: Milton en la poética de William Blake." Anuario de Letras Modernas 15 (November 3, 2010): 63–76. http://dx.doi.org/10.22201/ffyl.01860526p.2010.15.645.
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La imaginería de William Blake está fuertemente anclada en el simbolismo religioso en torno de la Biblia. Con todo, dicha imaginería está filtrada por la particular ideología de Blake, para quien el poeta es una manifestación legítima y óptima del profeta bíblico. Para Blake, John Milton constituye uno de los paradigmas de la figura del poeta-profeta en lengua inglesa. Este ensayo se propone explorar los modos en que Blake incorporó la obra y la figura de Milton en su proyecto poético, tanto a través de los ecos de la obra miltoniana como de su interpretación de la ideología de Milton. La discusión se centra particularmente en el poema Milton, a Poem in Two Books y analiza las tensiones mentales y estéticas de Blake en dicha obra.
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Linkin, Harriet Kramer. "Lucy Hooper, William Blake, and “The Fairy’s Funeral”." Articles, no. 54 (December 15, 2009): 0. http://dx.doi.org/10.7202/038760ar.
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Abstract The American poetess and abolitionist Lucy Hooper (1816-1841) was the first North American to publish a poem inspired by Blake’s prophetic imagination, “The Fairy’s Funeral” (1833), which transforms the famous anecdote about Blake witnessing a fairy funeral into a visionary lyric. This essay provides a brief introduction to Hooper, perhaps best-known as the subject of Whittier’s elegy “On the Death of Lucy Hooper” (1841), situates her in a literary milieu of British Romantic poets that includes Hemans, Landon, Byron and Clare, discusses how an American poetess from Brooklyn might have learned about Blake and his work, and reads “The Fairy’s Funeral” as a critique of Blake’s often violent representation of fairies and flowers.
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Hayes, K. J. "Poe's Knowledge of William Blake." Notes and Queries 61, no. 1 (January 21, 2014): 83–84. http://dx.doi.org/10.1093/notesj/gjt243.
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Duarte, Flavia Maris Gil. "Londres dos limpadores de chaminés: literatura e experiência histórica nos poemas London e The Chimney Sweeper de William Blake (1789-1794). Dissertação (Mestrado em História Social). Londrina, 2011." Antíteses 4, no. 7 (June 7, 2011): 409. http://dx.doi.org/10.5433/1984-3356.2011v4n7p409.
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Este trabalho pretende analisar algumas das transformações sociais ocorridas na Inglaterra nas últimas décadas do século XVIII a partir do poema London e dos poemas homônimos The Chimney Sweeper presentes na obra Songs of Innocence and of Experience do poeta e gravador William Blake, autor inserido no movimento romântico inglês. Sua obra foi marcada, como um todo, pelo pensamento místico culminando na criação de uma cosmogonia capaz de explicar, segundo o autor, a condição humana. No pensamento Blakeano personagens e situações fictícias muitas vezes referenciam e se misturam à nomes e situações reais, sendo um indicativo de que a condição humana que tenta demonstrar seria a da sociedade inglesa na transição entre os séculos XVIII e XIX: que integrava o processo de industrialização, o crescente deslocamento da razão como centro do pensamento e ouvia os ecos da revolução francesa. Songs of Innocence and of Experience contém os fundamentos do pensamento desenvolvido ao longo das obras posteriores de William Blake, expressa as transformações sociais por ele vivenciadas num universo onde política, religião e arte se entrelaçam na construção de uma interpretação peculiar da formação da sociedade industrial moderna.
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Diniz, Thaïs Flores Nogueira. ""A Rosa Doente” dos tempos modernos." Letras, no. 51 (December 18, 2015): 71. http://dx.doi.org/10.5902/2176148523547.
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O poema de William Blake “The Sick Rose” é analisado levando-se em conta não apenas os elementos intrínsecos ao poema, a ilustração que o acompanha e as características do Romantismo, mas também elementos externos que ampliam seu significado, inserindo-o em um contexto mais amplo, que insinua que ele seja lido como uma afirmação sobre o estado corrupto da Inglaterra.
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Cabañas Alamán, Rafael. "Del tigre de la ira al tigre del ensueño: William Blake y Jorge Luis Borges." Revista de Filología y Lingüística de la Universidad de Costa Rica 30, no. 1 (January 1, 2004): 9. http://dx.doi.org/10.15517/rfl.v30i1.4450.
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Si bien la crítica tiende a atribuir características negativas inherentes al tigre poetizado por William Blake, en el caso de Jorge Luis Borges el péndulo oscila hacia el lado opuesto. Aunque Borges tiene presente en su obra "el tigre de la ira" de Blake, poeta a quien tanto admiraba, el escritor adapta la imagen del tigre con gran originalidad en sus poemas y breves narraciones.
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Brenkman, John. "A utopia concreta da poesia: "Uma árvore de veneno" de Blake." Teresa, no. 12-13 (December 23, 2013): 244. http://dx.doi.org/10.11606/issn.2447-8997.teresa.2013.99369.
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O ensaio examina algumas perspectivas amplas sobre a arte que vêm da tradição do “marxismo crítico”, por meio da análise de um poema de Canções da experiência, de William Blake. A leitura deve tanto à hermenêutica e ao pós-estruturalismo quanto aos escritos estéticos da Escola de Frankfurt.
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Da Silva, Amanda Foro, Suellen Cordovil Da Silva, and Teofilo Augusto Da Silva. "A tradução intersemiótica em Frankenstein de Mary Shelley, The Little Girl Lost de William Blake e a série The Frankenstein Chronicles." Tabuleiro de Letras 11, no. 2 (April 8, 2018): 127. http://dx.doi.org/10.35499/tl.v11i2.4071.
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O principal objetivo deste artigo é investigar a tradução intersemiótica em três obras. O livro de Frankenstein de Mary Shelley, a série televisiva The Frankenstein Chronicles (2015) e um poema de William Blake intitulado The Little Girl Lost. Constatamos várias relações com o romance de Mary Shelley e trabalhos de William Blake com a série Televisiva. A teoria da tradução intersemiótica foi explanada por Julio Plaza (2003) e Roman Jakobson (2001) que tomam como base Charles Peirce, esse tipo de tradução basicamente significa a transmutação de um signo para outro. Portanto, o estudo desse trabalho veio para acrescentar mais informações sobre a tradução intersemiótica e de como a literatura pode ser projetada nas produções cinematográficas.
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Riley, James. "Iain Sinclair, William Blake and the Visionary Poetry of the 1960s." Bulletin of the John Rylands Library 98, no. 1 (May 31, 2022): 75–92. http://dx.doi.org/10.7227/bjrl.98.1.7.
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This article considers the use made of William Blake by a range of writers associated with the ‘countercultural’ milieu of the 1960s, particularly those linked to its London-based literary context. Iain Sinclair is offered as a writer who, in his appreciation of Blake, stands apart from the poets linked to the anthology, Children of Albion (1969). The article unpacks this distinction, analysing Sinclair’s ‘topographic’ take in comparison to the ‘visionary’ mode of his contemporaries. Having established this dualism, the argument then questions the nature of the visionary poetics assumed to apply to the likes of key poets from the era. The work of Michael Horovitz is brought into view, as is that of Harry Fainlight. In essence, these multiple discourses point to the plurality of Blake as a figure of influence and the variation underpinning his literary utility in post-1960s poetry.
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Steil, Juliana. "William Blake e as vozes proféticas da tradição dissidente." Revista da Anpoll 1, no. 47 (December 31, 2018): 37–45. http://dx.doi.org/10.18309/anp.v47i1.1178.
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Em Fearful Symmetry, Frye menciona a necessidade de desfazer o “mito de que Blake é uma anomalia literária” (FRYE, 1990, p. 147). Considerando que persistem ressonâncias deste mito, este artigo explora a afinidade entre a obra poética de William Blake e a tradição dissidente inglesa, uma relação raramente discutida pela crítica do poeta no Brasil. O artigo revisa a literatura existente sobre o assunto e, destacando os trabalhos de Mee (1992, 1994, 2003) e de Makdisi (2003), avalia a inclinação antinomiana dos escritos de Blake para explicar as ideias de “profeta” e de “profecia” assumidas em seus poemas proféticos.
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Santos, Andrio J. R. dos. "“My evil, and my lusty little heart”: Tradução intersemiótica de “The Tyger”, de William Blake, em “The Tale Of The Body Thief”, de Anne Rice." Literartes 1, no. 7 (December 23, 2017): 266. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2017.127636.
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O presente trabalho visa analisar criticamente a operação de tradução intersemiótica do poema The Tyger, de William Blake, no romance The Tale Of The Body Thief, de Anne Rice. Para tal, empregam-se concepções teóricas propostas por autores como Diniz (1998), Clüver (2006) e Plaza (2008), que compreendem tradução intersemiótica essencialmente como um diálogo de significados intermídia em um processo de produção de sentido sempre em expansão.
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Bode, Christoph. "Discursive Constructions of the Self in British Romanticism." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019264ar.
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Abstract This essay examines how subjective identities are discursively constructed in William Blake and P.B. Shelley, making brief references to William Wordsworth, Samuel Taylor Coleridge, Lord Byron, John Keats, and Charlotte Smith. It is argued that, although the poets come up with strikingly divergent solutions to the challenge of self-modelling, they face the same fundamental problems of self-grounding, working as they do within the paradox-prone paradigm of a Romantic self that tries to constitute itself out of itself. Comparing these Romantic poets with twentieth-century poetic models of selfhood and identity in Robert Frost and Wallace Stevens, this essay provides a tentative answer to the question of whether we continue to operate within the Romantic framework of discursive self-construction or whether in fact we have moved beyond this mode of self-construction.
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Masseran, Claudia Barbieri. "Inocente experiência: pequeno diálogo com as canções de William Blake." Letras, no. 51 (December 18, 2015): 53. http://dx.doi.org/10.5902/2176148523546.
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O poeta, pintor, gravador e ilustrador inglês William Blake não foi compreendido pela maioria dos homens do seu tempo. Sua arte, até os dias atuais, apresenta múltiplas interpretações e interrogações, pois exige do seu público um olhar atento e disposto. Este artigo procura recuperar alguns pontos da biografia de Blake como sua formação, suas visões e seus métodos, com o objetivo de contextualizar a produção dos livros iluminados Canções da Inocência e da Experiência. Essa base permitirá que três de seus poemas sejam discutidos sob a luz de que vislumbres da experiência permeiam desde o início os versos da inocência: “Infant Joy” e os homônimos “Nurse’s song”.
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Diniz, Thaïs Flores Nogueira. "Transmediating corruptive beauty: William Blake’s “The sick rose” of modern times." Cadernos de Letras da UFF 27, no. 54 (June 30, 2017): 11. http://dx.doi.org/10.22409/cadletrasuff.2017n54a514.
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<p>O poema de William Blake, “The Sick Rose”, que trata da oposição rosa versus verme e serve para denunciar a corrupção, é transmidiado para a instalação intitulada “Sick Rose”, criada por David Burrows e exposta na Cloud & Vision Exhibition de 2005, em Londres. As acusações do tempo de Blake são transpostas para as do século XX e a recuperação contemporânea da obra de Blake no Brasil nos dá pistas de que a denúncia radical do poeta contra a corrupção é ainda válida.</p><p>---</p><p> </p><p>DOI: <a href="http://dx.doi.org/10.22409/cadletrasuff.2017n54a514" target="_blank">http://dx.doi.org/10.22409/cadletrasuff.2017n54a514</a></p>
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Santos, Andrio J. R. dos. "“Amante de selvagem rebelião”: a figuração satânica nas profecias continentais de William Blake." FronteiraZ : Revista do Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, no. 19 (December 4, 2017): 272. http://dx.doi.org/10.23925/1983-4373.2017i19p272-290.
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Neste estudo, analiso o desenvolvimento temático da figura satânica de William Blake, a personagem Orc, nos poemas iluminados denominados de “Continental Prophecies”, compostos pelas obras America A Prophecy (1793), Europe A Prophecy (1794) e The Song of Los (1795), este dividido em duas partes, Africa e Asia. Nessas obras, Blake articula temas como apocalipse, energia, imaginação e revolução — em relação à Revolução Francesa e à Americana — e tece críticas ao pensamento político, religioso e artístico do período. Minha discussão é desenvolvida em um constante diálogo entre três instâncias: religiosa, social e artística. Tal concepção é abordada por Peter Schock (2003), tratada como “Matriz Cultural”. Este estudo explora como a arte de Blake dialoga com as revoluções do século XVIII, sobretudo a Francesa e a Americana, discuti suas influências religiosas, políticas e artísticas, além de oferecer uma concepção acerca do ideal satânico de Blake, suas reinterpretações e subversões.