Journal articles: 'Songs of innocence and of experience'

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Poirier, S., W. R. Ahrens, and D. J. Brauner. "Songs of innocence and experience." Academic Medicine 73, no. 5 (May 1998): 473–8. http://dx.doi.org/10.1097/00001888-199805000-00010.

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Hardie, Philip. "SONGS OF INNOCENCE AND EXPERIENCE." Classical Review 48, no. 2 (October 1998): 303–5. http://dx.doi.org/10.1017/s0009840x98460013.

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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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Abrams, Kathryn, and Katie Roiphe. "Songs of Innocence and Experience: Dominance Feminism in the University." Yale Law Journal 103, no. 6 (April 1994): 1533. http://dx.doi.org/10.2307/797093.

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McFaul, Hugh, Liz Hardie, Francine Ryan, Keren Lloyd Bright, and Neil Graffin. "Taking Clinical Legal Education Online: Songs of Innocence and Experience." International Journal of Clinical Legal Education 27, no. 4 (December 11, 2020): 6–38. http://dx.doi.org/10.19164/ijcle.v27i4.1052.

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In common with the wider higher education sector, clinical legal education practitioners are facing the challenge of how to adapt their teaching practices to accommodate the restrictions imposed by governmental responses to the Covid-19 pandemic. Facilitating distance learning via online technologies has unsurprisingly become an area of increasing interest in the hope that it may offer a potential solution to the problem of how to continue teaching undergraduates in a socially distanced environment.This paper seeks to provide clinical legal education practitioners with evidence-based insights into the challenges and opportunities afforded by using digital technologies to deliver clinical legal education. It adopts a case study approach by reflecting on the Open Justice Centre’s four-year experience of experimenting with online technologies to provide meaningful and socially useful legal pro bono projects for students studying a credit bearing undergraduate law module. It will analyse how a number of different types of pro bono activity were translated into an online environment, identify common obstacles and posit possible solutions. In doing so, this paper aims to provide a timely contribution to the literature on clinical legal education and offer a means to support colleagues in law schools in the UK and internationally, who are grappling with the challenges presented by taking clinical legal education online.

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McFaul, Hugh, Liz Hardie, Francine Ryan, Keren Lloyd Bright, and Neil Graffin. "Taking Clinical Legal Education Online: Songs of Innocence and Experience." International Journal of Public Legal Education 4, no. 2 (December 11, 2020): 6. http://dx.doi.org/10.19164/ijple.v4i2.1062.

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In common with the wider higher education sector, clinical legal education practitioners are facing the challenge of how to adapt their teaching practices to accommodate the restrictions imposed by governmental responses to the Covid-19 pandemic. Facilitating distance learning via online technologies has unsurprisingly become an area of increasing interest in the hope that it may offer a potential solution to the problem of how to continue teaching undergraduates in a socially distanced environment. This paper seeks to provide clinical legal education practitioners with evidence-based insights into the challenges and opportunities afforded by using digital technologies to deliver clinical legal education. It adopts a case study approach by reflecting on the Open Justice Centre’s four-year experience of experimenting with online technologies to provide meaningful and socially useful legal pro bono projects for students studying a credit bearing undergraduate law module. It will analyse how a number of different types of pro bono activity were translated into an online environment, identify common obstacles and posit possible solutions. In doing so, this paper aims to provide a timely contribution to the literature on clinical legal education and offer a means to support colleagues in law schools in the UK and internationally, who are grappling with the challenges presented by taking clinical legal education online.

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Gallant, Christine. "Blake's Antislavery Designs for "Songs of Innocence and of Experience"." Wordsworth Circle 39, no. 3 (June 2008): 123–30. http://dx.doi.org/10.1086/twc24045762.

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Jose, Chiramel Paul. "Blake’s Songs, Their Introductions and the Bible." English Language and Literature Studies 7, no. 2 (May 30, 2017): 43. http://dx.doi.org/10.5539/ells.v7n2p43.

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Although William Blake was highly eclectic and drawing from multifarious sources, religious system, philosophical thoughts and traditions, the Bible was Blake’s most predominant concern. Throughout his life of meticulous and tedious composite art Blake aimed at decoding the Bible as the Great Code of Art for helping people to be imaginative and visionary like Jesus Christ. Both in his complex and sophisticated prophetic works, meant for the illuminated people, and in his deceptively simple lyrics of the Songs of Innocence and of Experience, meant for the rank and file of society, Blake did keep this up. The present study is an attempt to focus on this element, by delving deep into the texts and designs of the Introductions of Songs of Innocence as well as of Songs of Experience, inevitably considering the totality of Blake’s works and in the special context of their marked allegiance or affinity to the themes and symbols from the Bible. Blake visualized a blend of lamblike meekness and mildness with the ferocity of tigers of wrath for having the human form divine perfect.

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Alexandra Lloyd. "Songs of Innocence and Experience: Michael Haneke's Cinematic Visions of Childhood." Modern Language Review 111, no. 1 (2016): 183. http://dx.doi.org/10.5699/modelangrevi.111.1.0183.

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Whissell, Cynthia. "The Emotionality of William Blake's Poems: A Quantitative Comparison of Songs of Innocence with Songs of Experience." Perceptual and Motor Skills 92, no. 2 (April 2001): 459–67. http://dx.doi.org/10.2466/pms.2001.92.2.459.

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Yang,Hyun-Chyl. "The dialectical structure and theme in William Blake’s Songs of Innocence and Experience." Studies in English Language & Literature 39, no. 3 (August 2013): 49–68. http://dx.doi.org/10.21559/aellk.2013.39.3.003.

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Swayne, Steve. "William Bolcom, Songs of Innocence and of Experience, Naxos 8.559216018 (3 CDs), 2004." Journal of the Society for American Music 3, no. 3 (August 2009): 386–88. http://dx.doi.org/10.1017/s1752196309990010.

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Codsi, Stephanie. "‘Father, father, where are you going?’: Epicurean Deism and Absent Fathers in Blake’s Songs of Innocence and of Experience." Literature and Theology 33, no. 4 (September 13, 2019): 357–75. http://dx.doi.org/10.1093/litthe/frz028.

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Abstract This article explores the connection between the absent deity of Epicurean Deism and the father figure in Blake's Songs of Innocence and of Experience (1789–1794). The absent, elusive or indifferent God – which I trace back to Epicurean theology and its theory of atoms – plays out in Blake's depiction of a father whose absence or neglect is an implied cause of man's alienation. The article firstly looks at the inheritance of Epicureanism in 17–18th century Deist texts, then considers Blake s references to Epicureanism in his works, and finally argues that Blake critiques such concepts of God and fatherhood in a selection of Songs.

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Heymans, Peter. "Eating Girls." Humanimalia 3, no. 1 (September 17, 2011): 1–30. http://dx.doi.org/10.52537/humanimalia.10056.

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This article argues that Deleuze and Guattari’s concept of becoming-animal is aesthetically as well as structurally related to the discourse of the sublime. It investigates the species politics of both concepts and illustrates their ecocritical potential with an analysis of William Blake’s Lyca poems, “The Little Girl Lost” and “The Little Girl Found,” both published in his Songs of Innocence and of Experience (1794).

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Grumet, Madeleine R. "The Lie of the Child Redeemer." Journal of Education 168, no. 3 (October 1986): 87–97. http://dx.doi.org/10.1177/002205748616800310.

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This essay describes the image of the child in educational theory and argues that the image of the child redeemer is, in its emphasis on isolation from others and from the surrounding world, a spurious image for reform. It suggests that we attend to the redeeming lies of our daughters instead of the pronouncements of our innocent sons. It argues, however, that both innocence and deceit are properties of relations, not of individual persons. Curriculum and teaching must acknowledge the child's experience rather than constraining it in innocence or labeling it a lie.

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Kim, Hae Yeon. "Unification and Fragments of Words and Visual Images in Songs of Innocence and Experience." Journal of Modern British & American Language & Literature 35, no. 1 (February 28, 2017): 49. http://dx.doi.org/10.21084/jmball.2017.02.35.1.49.

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Hedley, Gill. "Mat Collishaw, Tracey Emin, Paula Rego: At the Foundling. Songs of Innocence, Experience, Ambivalence." Childhood in the Past 3, no. 1 (September 2010): 5–14. http://dx.doi.org/10.1179/cip.2010.3.1.5.

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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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Jha, Suprita. "Representation of two Contrary States of Human Soul: Songs of Innocence and Experience by William Blake." Journal of Humanities and Education Development 2, no. 6 (2020): 576–78. http://dx.doi.org/10.22161/jhed.2.6.23.

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Calado, Claudia Regina Rodrigues. "William Blake: o estudo do processo de criação de um Doppelbegabung." Letras, no. 51 (August 18, 2016): 35. http://dx.doi.org/10.5902/2176148523579.

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William Blake era um Doppelbegabung, ou um artista de talentos múltiplos. Ele demonstrava aptidão para artes imagéticas e verbais, e intencionou juntá-las, inextricavelmente, em Songs of Innocence and of Experience. O presente trabalho tem como objetivo a investigação de como se deu a feitura de tal obra, em que medida textos verbais e pictóricos apresentam-se colocados em uma posição de complementaridade mútua. Buscamos observar, através do estudo de seus manuscritos, se o homem das imagens predominava sobre o homem das letras, ou se era o contrário. Para isso, recorremos à Crítica Genética, campo do conhecimento dedicado ao estudo de processos de criação.

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Steil, Juliana. "Traduções de William Blake no Brasil." Revista Letras Raras 7, no. 2 (September 29, 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 mais importantes do artista para a literatura brasileira quanto ao número de traduções.

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Lister, Rodney. "Bolcom, Gann and other Americans." Tempo 60, no. 235 (January 2006): 37–39. http://dx.doi.org/10.1017/s0040298206260042.

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WILLIAM BOLCOM: Songs of Innocence and of Experience. Christine Brewer, Measha Brueggergosman, Hana Davidson, Linda Hohenfeld, Carmen Pelton (sops), Joan Morris (mezzo-sop), Marietta Simpson (con), Thomas Young (ten), Nmon Ford (bar), Nathan Lee Graham (speaker/vocals), Tommy Morgan (harmonica), Peter ‘Madcat’ Ruth (harmonica and vocals), Jeremy Kittel (fiddle), The University of Michigan Musical Society Choral Union, Chamber Choir, University Choir, Orpheus Singers, Michigan State University Children’s Choir, Contemporary Directions Ensemble, University Symphony Orchestra c. Leonard Slatkin. Naxos 8.559216-18.AARON COPLAND: Inscape. ROGER SESSIONS: Symphony No. 8. GEORGE PERLE: Transcendental Modulations. BERNARD RANDS: …where the murmurs die… . The American Symphony Orchestra c. Leon Botstein. New World 80631-2.KYLE GANN: Nude Rolling Down an Escalator: Studies for Disklavier. New World 80633-2.

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23

Booker, Vaughn A. "Mothers of the Movement: Evangelicalism and Religious Experience in Black Women’s Activism." Religions 12, no. 2 (February 22, 2021): 141. http://dx.doi.org/10.3390/rel12020141.

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This article centers Black religious women’s activist memoirs, including Mamie Till Mobley’s Death of Innocence: The Story of the Hate Crime that Changed America (2003) and Rep. Lucia Kay McBath’s Standing Our Ground: The Triumph of Faith over Gun Violence: A Mother’s Story (2018), to refocus the narrative of American Evangelicalism and politics around Black women’s authoritative narratives of religious experience, expression, mourning, and activism. These memoirs document personal transformation that surrounds racial violence against these Black women’s Black sons, Emmett Till (1941–1955) and Jordan Davis (1995–2012). Their religious orientations and experiences serve to chart their pursuit of meaning and mission in the face of American brutality. Centering religious experiences spotlights a tradition of Black religious women who view their Christian salvation as authorizing an ongoing personal relationship with God. Such relationships entail God’s ongoing communication with these Christian believers through signs, dreams, visions, and “chance” encounters with other people that they must interpret while relying on their knowledge of scripture. A focus on religious experience in the narratives of activist Black women helps to make significant their human conditions—the contexts that produce their co-constitutive expressions of religious and racial awakenings as they encounter anti-Black violence. In the memoirs of Till and McBath, their sons’ murders produce questions about the place of God in the midst of (Black) suffering and their intuitive pursuit of God’s mission for them to lead the way in redressing racial injustice.

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Elshaikh, Ebtihal Abdelsalam. "Postcolonial Children's Literature: Songs of Innocence and Experience with Reference Tomarina Budhos’ Ask Me no Questions (2007), and Cathryn Clinton’s A Stone in my Hand (2002)." International Letters of Social and Humanistic Sciences 66 (February 2016): 10–22. http://dx.doi.org/10.18052/www.scipress.com/ilshs.66.10.

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The purpose of this paper is to show how psychological trauma resulted from conflicts such as colonialism, immigration, racism, wars and invasion; and even gender discrimination makes its way into postcolonial children’s literature. For example, some contemporary writers of children's literature depict the painful experience of young immigrants who are living under constant stress and tension. Others try to depict how the Middle East conflicts and turmoil affect children living under occupation. In all of these cases, children are highly at risk of psychological trauma. This paper is going to discuss two contemporary children’s novels which address the issues of immigration and war conflicts: Marina Budhos’Ask Me no questions (2007),and Cathryn Clinton’sA Stone in my Hand (2002). They were chosen to reflect not only the variety of children’s literature available, but also the unique struggles faced by young female protagonists living in two different cultural and political environments. The common thread running through these two novels is the experience of emotional trauma that young protagonists go through. The study of such trauma is at the core of the discussion of both novels. The paper will show how the protagonists of the two novels suffer “a double or triple trauma for children, who may witness the forcible removal of the parent, suddenly lose their caregiver, and/or abruptly lose their familiar home environment” (McLeigh)

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25

Kingwell, Mark. "Innocence and Experience." International Philosophical Quarterly 31, no. 1 (1991): 112–14. http://dx.doi.org/10.5840/ipq199131161.

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Luban, David, and Stuart Hampshire. "Innocence and Experience." Journal of Philosophy 88, no. 6 (June 1991): 317. http://dx.doi.org/10.2307/2026688.

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Johnson, Oliver A. "Innocence and Experience." International Studies in Philosophy 24, no. 1 (1992): 104–5. http://dx.doi.org/10.5840/intstudphil199224128.

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Stevenson, Anne. "Innocence and Experience." Hudson Review 52, no. 2 (1999): 208. http://dx.doi.org/10.2307/3853401.

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J.H. and Stuart Hampshire. "Innocence and Experience." Philosophical Quarterly 43, no. 171 (April 1993): 274. http://dx.doi.org/10.2307/2220391.

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Boyce, Niall. "Innocence and experience." Lancet 385, no. 9962 (January 2015): 18. http://dx.doi.org/10.1016/s0140-6736(14)62466-1.

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31

Rothenberg, Molly Anne, Stanley Gardner, Rodney M. Baine, and Mary R. Baine. "Blake's Innocence and Experience Retraced." Eighteenth-Century Studies 21, no. 1 (1987): 127. http://dx.doi.org/10.2307/2739038.

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32

Jackson, Timothy P. "Innocence and Experience. Stuart Hampshire." Journal of Religion 71, no. 4 (October 1991): 604–5. http://dx.doi.org/10.1086/488746.

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33

Koopman, Colin. "Songs of Experience." Symposium 10, no. 2 (2006): 625–27. http://dx.doi.org/10.5840/symposium200610237.

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34

Heriot, Gail, and Anthony Kronman. "Songs of Experience." Virginia Law Review 81, no. 6 (September 1995): 1721. http://dx.doi.org/10.2307/1073536.

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35

Dick, Roger L. "Songs of Experience." Chesterton Review 14, no. 2 (1988): 259–71. http://dx.doi.org/10.5840/chesterton198814211.

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36

Azizi, Esti. "Maintaining Innocence." Wrongful Conviction Law Review 2, no. 1 (June 18, 2021): 55–77. http://dx.doi.org/10.29173/wclawr41.

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Modern research has been diligent and successful in discovering what causes a wrongful conviction and long-term consequences on the wrongfully convicted person and their family. However, there is one area that remains relatively untouched by research efforts. It is the period between the conviction and the release, the period of incarceration itself. The purpose of this paper is to outline the experiences of wrongfully convicted persons in prison. While each incarceration term is an individualized experience, there are many commonalities within these experiences. This paper will consider the incarceration experience via two lenses: Part I will look at inmate and prison violence, and Part II will explore mental health and segregation. The paper will focus largely on the Canadian perspective, with limited insights from other jurisdictions. Each section will also evaluate: (1) the general prison experience for all incarcerated persons, and (2) the distinct prison experiences of the wrongfully convicted as a result of maintaining their innocence. Because little research exists on the distinct experiences of wrongfully convicted persons in prison, this paper looks to interviews and other sources where wrongfully convicted persons discussed their prison experiences. These sources are few and far between, with many wrongfully convicted persons echoing the words of Thomas Sophonow (wrongfully convicted of the murder of a 16-year-old donut shop employee), “whatever happened in jail [is] nobody’s business.”

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Luban, David. "Innocence and Experience by Stuart Hampshire." Journal of Philosophy 88, no. 6 (1991): 317–24. http://dx.doi.org/10.5840/jphil199188654.

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Péguy, Charles. "L'Innocence et l'Experience / Innocence and Experience." Chesterton Review 32, no. 1 (2006): 32–39. http://dx.doi.org/10.5840/chesterton2006321/260.

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Winn, James A., and Mark W. Booth. "The Experience of Songs." Modern Language Review 80, no. 2 (April 1985): 409. http://dx.doi.org/10.2307/3728680.

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Fairer, David. "Experience Reading Innocence: Contextualizing Blake's Holy Thursday." Eighteenth-Century Studies 35, no. 4 (2002): 535–62. http://dx.doi.org/10.1353/ecs.2002.0040.

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Esterhammer, Angela. "The Constitution of Blake’s Innocence and Experience." ESC: English Studies in Canada 19, no. 2 (1993): 151–60. http://dx.doi.org/10.1353/esc.1993.0029.

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YANGSUNGKAP. "Rereading Blake’s Songs of Experience." English21 32, no. 3 (September 2019): 5–33. http://dx.doi.org/10.35771/engdoi.2019.32.3.001.

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Silverman, Sue William. "From Innocence to Experience: Multiple Voices in Memoir." Fourth Genre: Explorations in Nonfiction 6, no. 2 (2004): 121–23. http://dx.doi.org/10.1353/fge.2004.0046.

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Sullivan-Bissett, Ema. "Monothematic delusion: A case of innocence from experience." Philosophical Psychology 31, no. 6 (May 23, 2018): 920–47. http://dx.doi.org/10.1080/09515089.2018.1468024.

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Chiappetta, Clare. "U2's Innocence and Experience as Brechtian Theater." New Hibernia Review 23, no. 1 (2019): 67–77. http://dx.doi.org/10.1353/nhr.2019.0004.

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Бокало Ірина. "МОТИВИ ВТРАТИ ВІНКА В УКРАЇНСЬКИХ НАРОДНИХ ПІСНЯХ ПРО КОХАННЯ." World Science 2, no. 2(42) (February 28, 2019): 46–51. http://dx.doi.org/10.31435/rsglobal_ws/28022019/6361.

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Ukrainian folk love songs as one of the most relevant genres have retained a lot of information about the norms of ethics and morals of the Ukrainian youth at the end of the XIX - early ХХ century. Particularly interesting are texts which contain information about the loss of maiden innocence, are reflected in the motifs of wreath loss. In folk love songs with the motifs of wreath loss, often are being used images-symbols of a wreath, braids, weed field, destiny. National aesthetics rarely judge girl who committed such a moral crime, but mostly sympathizes with her, uses the examples of such situations to warn young people from committing such offenses.

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Hewitt, Louise. "Learning by experience on the Innocence Project in London: the employer/employee environment." International Journal of Clinical Legal Education 25, no. 1 (April 4, 2018): 173. http://dx.doi.org/10.19164/ijcle.v25i1.697.

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The Innocence Project London is a pro bono project dedicated to investigating wrongful convictions in the context of individuals who claim actual innocence i.e. they did not commit the crime for which they have been convicted. Law students undertake work on the cases of convicted individuals who have maintained their innocence but have exhausted the criminal appeals process. The only avenue available to these individuals is to make an application to the Criminal Cases Review Commission (CCRC), which was set up to investigate the cases of people who believe they have been wrongfully convicted. The CCRC has the power to refer a case back to the Court of Appeal but requires new evidence or a new legal argument not identified at the time of the trial, which might have changed the whole outcome of the trial had the jury had been given a chance to consider it.Whilst the notion of innocence projects has been much debated in literature the purpose of this paper is to present the pedagogy of the Innocence Project London and the meaningful learning opportunity it provides to students. The pedagogy combines experiential learning with elements of work based learning to create an employer/ employee environment. Law students are ‘employed’ to work on the Project where the employment process starts with a two-stage application. The clinical learning model on an innocence project is distinct from the traditional clinic approach, in that students start work at the end of a case rather than at the beginning. The problem-solving therefore is developed in the context of critical judgement based on what happened when the case was decided in court as opposed to how the case should be presented in court. The learning for the students has been significant.

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Miller, William Cook. "Innocence after Experience: Herrick's "Oberon's Palace" as Counter-Epithalamion." Studies in Philology 117, no. 1 (2020): 129–50. http://dx.doi.org/10.1353/sip.2020.0004.

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Pietrzykowski, Szymon. "„Mój iPhone ma wirusa o nazwie U2, jak go usunąć?” – postrzeganie zespołu U2 w kontekście cyfrowego wydania albumu Songs of Innocence." Media - Kultura - Komunikacja Społeczna 1, no. 13 (February 6, 2019): 103–20. http://dx.doi.org/10.31648/mkks.2990.

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Kontrowersje wokół cyfrowego wydania 13. albumu studyjnego U2 pt. Songs of Innocence, relacjonowane w prezentowanym artykule, posłużyły również za pretekst do przyjrzenia się fenomenowi irlandzkiego zespołu oraz ogólniejszej refleksji nad kondycją współczesnego przemysłu muzycznego i postrzeganiem popkultury, skrajnie odmiennym wśród tak zwanych millenialsów i Baby Boomers, zwolenników U2 lub innych zespołów. Choć dzięki umowie U2 z Apple album ten trafił do rekordowej liczby 500 milionów osób, forma jego wydania (automatyczne dodanie do osobistych bibliotek użytkowników iTunes, bez pytania o ich zgodę) wywołała falę krytyki czy wręcz hejtu.

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Cunningham, Neale. "Hermann Hesse and the Butterflies – A Journey from Innocence to Experience and Back." Literatur für Leser 38, no. 1 (January 1, 2015): 31–27. http://dx.doi.org/10.3726/90071_31.

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In the Tractat vom Steppenwolf, the pamphlet which falls into the hands of Harry Haller after a night out drinking on the town, he reads, “Der Weg in die Unschuld, ins Unerschaffene, zu Gott führt nicht zurück, sondern vorwärts, nicht zum Wolf oder Kind, sondern immer weiter in die Schuld, immer tiefer in die Menschwerdung hinein.”1 The spiritual journey from childhood innocence, through the experience of individuation and becoming fully human, back to a redemptive innocence, is known from Hesse’s ‘Three-Step Doctrine’ in his 1932 essay Ein Stückchen Theologie.2 Here, Hesse introduces the idea of a process of human individuation comprising three stages of development: a stage of innocence; a stage of guiltiness, in which there is a knowledge of good and evil, which leads every serious, critical individual invariably to despair; and a final stage which ends either in downfall, or a breakthrough to grace, redemption, and faith.3 In this latter state the ego has been subsumed into the true self.4 In the Tractat vom Steppenwolf this notion is presented as follows:

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Journal articles on the topic 'Songs of innocence and of experience'

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