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Can poem and picture collaborate successfully in a composite art of text and design? Or does one art inevitably dominate the other? W.J.T. Mitchell maintains that Blake's illuminated poems are an exception to Suzanne Langer's claim that "there are no happy marriages in art—only successful rape." Drawing on over one hundred reproductions of Blake's pictures, this book shows that neither the graphic nor the poetic aspect of his composite art consistently predominates: their relationship is more like an energetic rivalry, a dialogue between vigorously independent modes of expression. W.J.T. Mitchell is Professor of English and Art and Design at the University of Chicago and editor of Critical Inquiry. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Can poem and picture collaborate successfully in a composite art of text and design? Or does one art inevitably dominate the other? W.J.T. Mitchell maintains that Blake's illuminated poems are an exception to Suzanne Langer's claim that "there are no happy marriages in art—only successful rape." Drawing on over one hundred reproductions of Blake's pictures, this book shows that neither the graphic nor the poetic aspect of his composite art consistently predominates: their relationship is more like an energetic rivalry, a dialogue between vigorously independent modes of expression. W.J.T. Mitchell is Professor of English and Art and Design at the University of Chicago and editor of Critical Inquiry. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
William Blake, overlooked in his time, remains an enigmatic figure to contemporary readers despite his near canonical status. Out of a wounding sense of alienation and dividedness he created a profoundly original symbolic language, in which words and images unite in a unique interpretation of self and society. He was a counterculture prophet whose art still challenges us to think afresh about almost every aspect of experience—social, political, philosophical, religious, erotic, and aesthetic. He believed that we live in the midst of Eternity here and now, and that if we could open our consciousness to the fullness of being, it would be like experiencing a sunrise that never ends. Following Blake’s life from beginning to end, acclaimed biographer Leo Damrosch draws extensively on Blake’s poems, his paintings, and his etchings and engravings to offer this generously illustrated account of Blake the man and his vision of our world. The author’s goal is to inspire the reader with the passion he has for his subject, achieving the imaginative response that Blake himself sought to excite. The book is an invitation to understanding and enjoyment, an invitation to appreciate Blake’s imaginative world and, in so doing, to open the doors of our perception.
Worms. Natural history is riddled with them. Literature is crawling with them. From antiquity to today, the ubiquitous and multiform worm provokes an immediate discomfort and unconscious distancing: it remains us against them in anthropocentric anxiety. So there is always something muddled, or dirty, or even offensive when talking about worms. Rehabilitating the lowly worm into a powerful aesthetic trope, Janelle A. Schwartz proposes a new framework for understanding such a strangely animate nature. Worms, she declares, are the very matter with which the Romantics rethought the relationship between a material world in constant flux and the human mind working to understand it. Worm Work studies the lesser-known natural historical records of Abraham Trembley and his contemporaries and the familiar works of Erasmus Darwin, Charles Darwin, William Blake, Mary Shelley, and John Keats, to expose the worm as an organism that is not only reviled as a taxonomic terror but revered as a sign of great order in nature as well as narrative. This book traces a pattern of cultural production, a vermiculture that is as transformative of matter as it is of mind. It distinguishes decay or division as positive processes in Romantic era writings, compounded by generation or renewal and used to represent the biocentric, complex structuring of organicism. Offering the worm as an archetypal figure through which to recast the evolution of a literary order alongside questions of taxonomy from 1740 to 1820 and on, Schwartz unearths Romanticism as a rich humus of natural historical investigation and literary creation.
Blake said of his works, 'Tho' I call them Mine I know they are not Mine'. So who owns Blake? Blake has always been more than words on a page. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media.
William Blake, poet and artist, is a figure often understood to have 'created his own system'. Combining close readings and detailed analysis of a range of Blake's work, from lyrical songs to later myth, from writing to visual art, this collection of thirty-eight lively and authoritative essays examines what Blake had in common with his contemporaries, the writers who influenced him, and those he influenced in turn. Chapters from an international team of leading scholars also attend to his wider contexts: material, formal, cultural, and historical, to enrich our understanding of, and engagement with, Blake's work. Accessibly written, incisive, and informed by original research, William Blake in Context enables readers to appreciate Blake anew, from both within and outside of his own idiom.
William Blake (1757-1827) is considered one of the most singular and brilliant talents that England has ever produced. Celebrated now for the originality of his thinking, painting and verse, he shocked contemporaries by rejecting all forms of organized worship even while adhering to the truth of the Bible. But how did he come to equate Christianity with art? How did he use images and paint to express those radical and prophetic ideas about religion which he came in time to believe? And why did he conceive of Christ himself as an artist: in fact, as the artist, par excellence? These are among the questions which Naomi Billingsley explores in her subtle and wide-ranging new study in art, religion and the history of ideas. Suggesting that Blake expresses through his representations of Jesus a truly distinctive theology of art, and offering detailed readings of Blake's paintings and biblical commentary, she argues that her subject thought of Christ as an artist-archetype. Blake's is thus a distinctively 'Romantic' vision of art in which both the artist and his saviour fundamentally change the way that the world is perceived.
The twenty contributors to this volume offer a new perspective on the relationship between Blake's poetry and his visionary forms. Their illustrated discussions explore and debate the nature of Blake's mixed art and the energetic interaction of text and design. Originally published in 1971. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.