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Journal articles on the topic 'The Marriage of Heaven and Hell'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Rolfe, Gary. "The marriage of heaven and hell." Nurse Education Today 32, no. 3 (2012): 195–96. http://dx.doi.org/10.1016/j.nedt.2011.08.016.

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2

Mulvihill, James. "Blake's the Marriage of Heaven and Hell." Explicator 56, no. 3 (1998): 124–26. http://dx.doi.org/10.1080/00144949809595282.

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3

Barker, Phil. "Virgina Woolf – The Marriage of Heaven and Hell." Mental Health Practice 3, no. 3 (1999): 37. http://dx.doi.org/10.7748/mhp.3.3.37.s20.

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4

Steenburg, David. "Chaos at the Marriage of Heaven and Hell." Harvard Theological Review 84, no. 4 (1991): 447–66. http://dx.doi.org/10.1017/s0017816000017958.

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Blake's romantic genius could not but chafe at the theme of rational order and harmony that pervaded eighteenth-century science, art, and theology. Only spiritual blindness could be content with a world reducible to measure and mathematics. Blake longed for a grander synthesis—a celebration of human living beyond the antinomies of reason and passion, understanding and imagination, order and chaos. He longed for the marriage of heaven and hell.

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5

Miller, Dan. "Contrary Revelation: "The Marriage of Heaven and Hell"." Studies in Romanticism 24, no. 4 (1985): 491. http://dx.doi.org/10.2307/25600563.

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6

Brennan, Stephen C. "The Financier: Dreiser's Marriage of Heaven and Hell." Studies in American Fiction 19, no. 1 (1991): 55–69. http://dx.doi.org/10.1353/saf.1991.0015.

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7

Viscomi, Joseph. "The Evolution of "The Marriage of Heaven and Hell"." Huntington Library Quarterly 58, no. 3/4 (1995): 281–344. http://dx.doi.org/10.2307/3817571.

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8

Reilly, Susan P. "Blake's Poetics of Sound in The Marriage of Heaven and Hell." Romanticism on the Net, no. 16 (1999): 0. http://dx.doi.org/10.7202/005875ar.

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9

YOO, Jeong-Hwa. "William Blake’s The Marriage of Heaven and Hell and Ethical Imagination." Literature and Religion 18, no. 3 (2013): 151–71. http://dx.doi.org/10.14376/lar.2013.18.3.151.

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10

Cooper, Andrew M. "Irony as Self-Concealment in the Marriage of Heaven and Hell." a/b: Auto/Biography Studies 2, no. 4 (1986): 34–44. http://dx.doi.org/10.1080/08989575.1986.10815420.

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11

Gourlay, A. S. "MICHAEL PHILLIPS (ed.), William Blake: The Marriage of Heaven and Hell." Notes and Queries 59, no. 4 (2012): 606–7. http://dx.doi.org/10.1093/notesj/gjs199.

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12

Morris, D. B. "Dark Ecology: Bio-anthropocentrism in The Marriage of Heaven and Hell." Interdisciplinary Studies in Literature and Environment 19, no. 2 (2012): 274–94. http://dx.doi.org/10.1093/isle/iss049.

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13

Gross, David. "Infinite Indignation: Teaching, Dialectical Vision, and Blake's Marriage of Heaven and Hell." College English 48, no. 2 (1986): 175. http://dx.doi.org/10.2307/377299.

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14

Rix, Robert W. "‘In Infernal Love and Faith’: William Blake's The Marriage of Heaven and Hell." Literature and Theology 20, no. 2 (2006): 107–25. http://dx.doi.org/10.1093/litthe/frl014.

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15

Wardi, Eynel. "Space, the Body, and the Text in The Marriage of Heaven and Hell." Orbis Litterarum 58, no. 4 (2003): 253–70. http://dx.doi.org/10.1034/j.1600-0730.2003.00006.x.

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16

Suter, David W. "Of the Devil's Party: The Marriage of Heaven and Hell in Satanic Verses." South Asian Review 16, no. 13 (1992): 63–78. http://dx.doi.org/10.1080/02759527.1992.11932148.

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17

Rocha, Adalberto Teixeira de Andrade. "Liberty as progression: a study of the revolutions idealized in Areopagitica, The marriage of heaven and hell, and The matrix." Em Tese 12 (December 31, 2008): 5. http://dx.doi.org/10.17851/1982-0739.12.0.5-11.

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I address the assumptions of Areopagitica, The Marriage of Heaven and Hell and The Matrix as well as provoke their ideals in order to expose the status of their liberty and progression towards truth as one that is in no sense absolute, but time and space specific.

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18

Dawson, Terence. "“A Firm Perswasion”: God, Art, and Responsibility in Blake'sThe Marriage of Heaven and Hell." Jung Journal 7, no. 2 (2013): 62–77. http://dx.doi.org/10.1080/19342039.2013.787523.

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19

Apesos, Anthony. "Taking Dictation: Plates 5 and 10 of Blake’s The Marriage of Heaven and Hell." Huntington Library Quarterly 80, no. 1 (2017): 159–72. http://dx.doi.org/10.1353/hlq.2017.0006.

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20

Yang, Michael Vincent. "The Marriage of Heaven and Hell: A New Reading of Journey to the West." International Journal of the Humanities: Annual Review 3, no. 5 (2006): 142–49. http://dx.doi.org/10.18848/1447-9508/cgp/v03i05/41658.

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21

Dawson, Erica. "Reading The Marriage of Heaven and Hell in Bed, and: Paramour, and: Black Woman." Hopkins Review 8, no. 2 (2015): 145–48. http://dx.doi.org/10.1353/thr.2015.0039.

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22

Vevle, Siri. "An Unnoticed Parallel Between William Blake’s Fiery Pegasus and ‘The Marriage of Heaven and Hell’." Notes and Queries 59, no. 3 (2012): 354–55. http://dx.doi.org/10.1093/notesj/gjs090.

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23

Ko, Joon Seog. "The Harmonizing Poetics of the Opposites in William Blake’s The Marriage of Heaven and Hell." Yeats Journal of Korea 60 (December 31, 2019): 267–85. http://dx.doi.org/10.14354/yjk.2019.60.267.

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24

Vunić, Krešimir. "Revisiting William Blake's Marriage of Heaven and Hell : a reading against Kathleen Raine's Blake and Antiquity." Brno studies in English, no. 1 (2020): 279–88. http://dx.doi.org/10.5817/bse2020-1-14.

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25

Eigenauer, John D. "The Humanities and Chaos Theory: A Response to Steenburg's “Chaos at the Marriage of Heaven and Hell”." Harvard Theological Review 86, no. 4 (1993): 455–69. http://dx.doi.org/10.1017/s0017816000030662.

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In an article in the fall 1991 issue of the Harvard Theological Review, David Steenburg proposes “to consider the potential significance of chaos theory for modern culture.” This important issue has not received adequate attention because the understanding of math and the physical sciences necessary to be able to speak cogently about chaos theory can be intimidating for nonscientists. Those who are not scientists, however, have at their disposal the popular and effective summary of chaos theory by James Gleick. While Gleick's work is solid, it has led some to be captivated by chaos theory's fe

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26

Ożarowska, Aleksandra. "The Marriage of Heaven and Hell: On the Functional Approach to Translating Libretti for Modernised Opera Productions." Anglica. An International Journal of English Studies, no. 26/2 (September 11, 2017): 171–83. http://dx.doi.org/10.7311/0860-5734.26.2.10.

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The present paper focuses on the issue of translating operatic libretti in the form of surtitles. This is a very specific type of translation, and it becomes even more challenging when operatic productions for which surtitles are created are modernised. In such cases the application of skopos theory proves to be the most useful and effective, even though some of its premises may be regarded as controversial. The data for the present study come from the most reputable opera houses, for example the Metropolitan Opera House or Royal Opera House, as they are known for providing their audiences wit

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27

Herren, Graley. "The Marriage of Heaven and Hell: Death and Rebirth in Conor McPherson's Girl from the North Country." New Hibernia Review 22, no. 4 (2018): 97–113. http://dx.doi.org/10.1353/nhr.2018.0050.

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28

Marzana, Sara. "One and Many Truths Artistically Acknowledged." Exchanges: The Interdisciplinary Research Journal 5, no. 2 (2018): 90–105. http://dx.doi.org/10.31273/eirj.v5i2.234.

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Jane Austen’s Pride and Prejudice and William Blake’s The Marriage of Heaven and Hell both question, criticise and reinterpret the concept of ‘truth universally acknowledged’. From the intrinsic relation between the particular and the universal, to the scission between impressions and ideas, Pride and Prejudice concerns some elements of the entire dispute of knowledge. Moreover, The Marriage of Heaven and Hell urges us to reconsider any truth that we recognise as legitimately established, in the attempt to convey that it is our right and duty to determine what we believe – according to our sen

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29

Del Gizzo, Luciana. "Imágenes de la revolución heterogénea. Tensiones entre texto e imagen en The Marriage of Heaven and Hell de William Blake." Cuadernos de Ilustración y Romanticismo, no. 24 (2018): 619–35. http://dx.doi.org/10.25267/cuad_ilus_romant.2018.i24.27.

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30

Persaud, Raj. "The Marriage of Heaven and Hell. By Peter Dally. London: Robson. 1999. 225 pp. £ 16.95. ISBN 1-86105-219-7." Psychiatric Bulletin 24, no. 2 (2000): 79. http://dx.doi.org/10.1192/pb.24.2.79.

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31

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

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

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32

Rix, Robert W. "Healing the Spirit: William Blake and Magnetic Religion." Romanticism on the Net, no. 25 (June 11, 2009): 0. http://dx.doi.org/10.7202/006011ar.

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Abstract In the late eighteenth century, Swedenborg-inspired mystics transformed the pseudo-science of Animal Magnetism, popularized by Franz Anton Mesmer, into a mystical religion of restoring mankind to spiritual health and preparing the Millennium. The essay progresses chronologically to trace Blake's intellectual companionship with this renegade branch of Magnetism in relation to the development of some central metaphors and narrative structures in his works. Especially prominent with the Swedenborgian magnetizers practicing in London were ideas of "healing" by means of communication with

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33

Larsen, Kevin S. "Ángeles y demonios en «canto a Teresa»." Revista de literatura 62, no. 123 (2020): 61. http://dx.doi.org/10.3989/revliteratura.2000.v62.i123.525.

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En «Canto a Teresa» y El diablo mundo (del que constituye una sección importante), igual que en algunos otros poemas suyos, Espronceda expresa su «titánico» desafío a los poderes y los mores de la tierra y del cielo. Desarrolla muchas imágenes mixtas de ángeles y demonios para caracterizar sus relaciones con Teresa Mancha, igual que para explorar su propio carácter como hombre y como poeta. Participa así en una larga tradición de pintar a la mujer como ángel y demonio, la que ganó un especial valor corriente en su propio siglo. En efecto, Espronceda intenta efectuar un «marriage of heaven and

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34

Carens, Timothy L. "BREAKING THE IDOL OF THE MARRIAGE PLOT INYEASTANDVILLETTE." Victorian Literature and Culture 38, no. 2 (2010): 337–53. http://dx.doi.org/10.1017/s1060150310000021.

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Nineteenth-century Protestant culturegenerally held marriage in high esteem, and the notion that marriage was “made in heaven” often explicitly undergirds the conventional resolution of domestic fiction. Despite many indications of a harmonious relationship between human love and religious faith, a countervailing cultural trend reveals a deep conflict between the two. Victorian Protestants worried that passionate love for another mortal creature might lead to heretical extremes, that human love might slip into idolatry, the worship of false and material gods. Jane Eyre memorably confesses that

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35

Chernik, Aria F. "The “Peculiar Light” of Blakean Vision: Reorganizing Enlightenment Discourse and Opening the Exemptive Sublime." Articles, no. 50 (June 5, 2008): 0. http://dx.doi.org/10.7202/018148ar.

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Abstract This article argues that there is a direct connection between Blake’s rejection of conventional Enlightenment aesthetics—namely, of tropes pertaining to light and darkness and void and chaos—and a space of liberty that is opened for the reader. This space, which I term the “exemptive sublime,” is free from interpretive mandates and even orthodox assumptions. To illustrate the affiliation between Blake’s radical aesthetics and the radical space of liberty that is created for the reader, I first briefly consider how even in some of his earliest works, such as “The Little Black Boy” and

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36

Mitchell, W. J. T. "The Commitment to Form; or, Still Crazy after All These Years." Publications of the Modern Language Association of America 118, no. 2 (2003): 321–25. http://dx.doi.org/10.1632/003081203x67703.

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Having counted the adjectives, and weighed the lines, and measured the rhythms, a Formalist either stops silent with the expression of a man who does not know what to do with himself, or throws out an unexpected generalization which contains five per cent of Formalism and ninety-five per cent of the most uncritical intuition.—Trotsky, Literature and Revolution (ch. 5)Bring out number weight & measure in a year of dearth.—Blake, The Marriage of Heaven and Hell (35)Everyone knows that the concept of form has outlived its usefulness in discussions of literature, the arts, and media. The word

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37

Finne, Sigbjorn, Daan Leijen, Erik Meijer, and Simon Peyton Jones. "Calling hell from heaven and heaven from hell." ACM SIGPLAN Notices 34, no. 9 (1999): 114–25. http://dx.doi.org/10.1145/317765.317790.

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38

Hasbi, Ridwan, and Syafaruddin Hasbi. "THE LEGALITY OF DIVORCE IN THE PERSPECTIVE OF HADITH." Jurnal Ushuluddin 24, no. 1 (2016): 51. http://dx.doi.org/10.24014/jush.v24i1.1526.

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Cerai talak (formula for divorce) and Cerai gugat (sue for divorce) are two terms of termination of marriage bond in Indonesia. The formula of divorce is a term that coincides with a divorce coming from the will of a husband and sue for divorce is the desire of a wife to separate from her husband. Islamic Law legalizes the right of wives in cases of divorce redeem (khulu‘) and fasakh because of syiqaq. On the other side, there are signs setting the rights up, so that the given reasons to use the rights must be legal in syar‘i. The reasons for the legality of divorce is a common-cause factor, s

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39

Cascio, Jamais. "Heaven or hell?" New Scientist 236, no. 3147 (2017): 24–25. http://dx.doi.org/10.1016/s0262-4079(17)32018-3.

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40

Mérimée, Prosper, and Daniel Gerould. "Heaven and Hell." PAJ: A Journal of Performance and Art 30, no. 1 (2008): 129–40. http://dx.doi.org/10.1162/pajj.2008.30.1.129.

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41

Serdechnaia, Vera. "William Blake and F. M. Dostoevsky: a History of Comparison." Dostoevsky and world culture. Philological journal, no. 3 (2020): 158–68. http://dx.doi.org/10.22455/2619-0311-2020-3-158-168.

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The article is devoted to the history of comparing the works of William Blake and Fyodor Dostoevsky. The author starts with the lectures of Andre Gide in the 1920s, in which he used quotes from Blake’s Marriage of Heaven and Hell to clarify Dostoevsky. Gide believed that both authors were united by the devil theme and the fascination with evil and started the tradition of comparing Blake with Dostoevsky and Nietzsche, reflected in the works of Jean Wahl and Georges Bataille. American scholar Melvin Rader united Blake and Dostoevsky in rethinking the structure of the Christian Trinity and the i

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42

Woiwode, Larry. "Homeplace, Heaven or Hell." Renascence 44, no. 1 (1991): 3–16. http://dx.doi.org/10.5840/renascence19914418.

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43

Haynes, Maren. "Heaven, Hell, and Hipsters." Ecclesial Practices 1, no. 2 (2014): 207–28. http://dx.doi.org/10.1163/22144471-00102002.

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Mars Hill pastor Mark Driscoll attracts unconventional churchgoers. Hipster youth ages 18–25 comprise the core of the church’s 12,000+ weekly attendees – surprising, amid Driscoll’s controversial promotion of strict gender binaries and fundamentalist theology. Furthermore, the Pacific Northwest boasts the country’s lowest rate of church affiliation (Killen 2004). How, in this so-called ‘religious none-zone,’ has Mars Hill grown rapidly among young adults? I suggest only a portion of Mars Hill’s regional growth relies on content preached in the pulpit. Using ritual theory (Collins 2008) and non

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44

LUCK, MORGAN. "Escaping Heaven and Hell." Religious Studies 52, no. 3 (2015): 395–402. http://dx.doi.org/10.1017/s0034412515000451.

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AbstractAdams (1993) argues that the traditional view that no one in Hell can leave, poses a problem for the theist. This is because, she argues, such a bad state of affairs should be prevented by God. In response, Buckareff and Plug (2005) argue that everyone in Hell can leave. More recently, Matheson (2014) argues that if everyone in Hell can leave, then everyone in Heaven can also leave. However, Matheson provides reason to think that it is impossible for anyone in Heaven to leave. In which case, he argues, no one in Hell can leave either. In this article, I extend this debate, and offer re

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45

Austin, Victor Lee. "Preaching Heaven and Hell." Pro Ecclesia: A Journal of Catholic and Evangelical Theology 22, no. 4 (2013): 367–77. http://dx.doi.org/10.1177/106385121302200401.

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46

Morowitz, Harold J. "Heaven, Hell, and Bioenergetics." Hospital Practice 30, no. 1 (1995): 12–15. http://dx.doi.org/10.1080/21548331.1995.11443126.

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47

Elshtain, Jean Bethke. "Between Heaven and Hell." Process Studies 40, no. 2 (2011): 215–26. http://dx.doi.org/10.5840/process201140233.

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48

Haines, Daniel. "Consent: Heaven or hell?" Medico-Legal Journal 82, no. 1 (2014): 5. http://dx.doi.org/10.1177/0025817213513703.

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49

Hoath, Pauline Ann. "Between Heaven and Hell." Kunst og Kultur 93, no. 04 (2011): 236–47. http://dx.doi.org/10.18261/issn1504-3029-2010-04-06.

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50

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

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