Search results for "blake"
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Blake 2.0
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.
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Blake, Deleuzian Aesthetics, and the Digital
Drawing on recent theories of digital media and on the materiality of words and images, this fascinating study makes three original claims about the work of William Blake. First, Blake offers a critique of digital media. His poetry and method of illuminated printing is directed towards uncovering an analogical language. Second, Blake's work can be read as a performative. Finally, Blake's work is at one and the same time immanent and transcendent, aiming to return all forms of divinity and the sacred to the human imagination, stressing that 'all deities reside in the human breast,' but it also stresses that the human has powers or potentials that transcend experience and judgement: deities reside in the human breast. These three claims are explored through the concept of incarnation: the incarnation of ideas in words and images, the incarnation of words in material books and their copies, the incarnation of human actions and events in bodies, and the incarnation of spirit in matter.
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Blake
A rich examination into the creative process of an idiosyncratic Romantic-era visionary through the lens of one of the great collections of his work William Blake (1757–1827) is one of the most recognizable names in British art and literature. The mythological, spiritual, and pastoral themes of his visual art and poetry influenced such contemporaries as Samuel Palmer and John Linnell, and they have served as sources of inspiration for twentieth-century luminaries as well, including Allen Ginsberg, Bob Dylan, and Patti Smith. Showcasing the breadth and depth of the Yale Center for British Art’s collection of Blake’s works, this volume features exquisite reproductions of his paintings, watercolors, prints, and selections from his illustrated books, including the only hand-colored copy of the epic poem Jerusalem. It also presents newly commissioned essays that explore Blake’s biography, poetry, painting, and printmaking, as well as employing innovative digital humanities tools to highlight his unique artistic process in a manner that will engage the general reader and expert alike. Distributed for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art (August 26–November 30, 2025)
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Blake, Gender and Culture
Blake's combination of verse and design invites interdisciplinary study. The essays in this collection approach his work from a variety of perspectives including masculinity, performance, plant biology, empire, politics and sexuality.
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Blake, Modernity and Popular Culture
This book explores the ways in which Blake reacted to the subcultures of his day, as well as how he has inspired popular, modernist and postmodernist figures until the present day. Blake's influence on later generations of writers and artists is more important than ever, extending into film, psychology, children's literature and graphic novels.
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Historicizing Blake
"Historicizing Blake" puts Blake back into the cultural context of his times. These essays by both established and younger scholars re-address Blake's contemporary milieu after the neglect of ten years of post-structuralist, reader-orientated, methodology. By employing notions of history wider than the purely 'literary', and featuring an important new essay by the period's foremost subcultural historian, lain McCalman, "Historicizing Blake" represents a significant contribution towards the re-historicizing of Romanticism.
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Blake, Modernity and Popular Culture
This book explores the ways in which Blake reacted to the subcultures of his day, as well as how he has inspired popular, modernist and postmodernist figures until the present day. Blake's influence on later generations of writers and artists is more important than ever, extending into film, psychology, children's literature and graphic novels.
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Blake's Gifts
The idea of the gift, in contrast to concepts of commercial exchange or the exercise of self-interest at the expense of social ties, is integral to the ways in which William Blake thought about his art, and the production and dissemination of his work. Sarah Haggarty offers a sophisticated and thorough account of the idea of the gift in Blake's writing and designs, examining both the theoretical implications of the term, and the way it plays out in specific textual and visual contexts within Blake's works. Elegantly written, thoughtful and closely argued, this book explores particular passages with great dexterity and in a style that enables the reader to participate in the experience of discovering the significance of 'the gift' for understanding Blake's work.
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Blake’s Word
This book explores how William Blake conceived the act of reading as an imaginative activation of Jesus the Word, the anonymous, unsayable potency of language that underlies speech. Through illuminated printing, Blake sought to incarnate this Word by re-educating his late-Enlightened audience in the fundamentals of reading - not through morality tales but at the level of physiology and synaesthesia where seen writing is turned into meaningful mental sounds. By wrongfooting the automaticity of skilled adult parsing, Blake's grammar and syntax restore a cognitive element of anticipation to semiotic decoding and prophetically open the immediate future to interpretation. Such speaking-forth of the divine unsayability not only critiques 18th-century Deism's God-given "language of nature," it also sometimes skirts unreadability. Therefore, as this study demonstrates, Blake strove hard to develop his reading program in relation to a range of well-known philosophers including Plato and Bacon, Berkeley and Hume, Swedenborg and Rousseau, whose ideas on cognition and language his work casts in a new light even today.
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Blake's Composite Art
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.
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Blake, Gender and Culture
Blake's combination of verse and design invites interdisciplinary study. The essays in this collection approach his work from a variety of perspectives including masculinity, performance, plant biology, empire, politics and sexuality.
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Blake, Politics, and History
First published in 1998, this book formed part of an ongoing effort to restore politics and history to the centre of Blake studies. It adopts a three pronged approach when presenting its essays, seeking to promote a return to the political Blake; to deepen the understanding of some of the conversations articulated in Blake’s art by introducing new, historical material or new interpretations of texts; and to highlight differing perspectives on Blake’s politics among historically focused critics. The collection contains essays with varying methodological assumptions and differing positions on questions central to historicist Blake scholarship.
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Blake, Kierkegaard, and the Spectre of Dialectic
Blake's late prophecies, The Four Zoas, Milton and Jerusalem, feature a conflict between the poet-prophet Los and a Spectre embodying all he most opposes: intellectual scepticism, religious despair and a systematic philosophical logic of contraries, which is for Blake an abstraction from, and negation of, his ideal of 'life'. In this 1991 book, Lorraine Clark traces the analogy between Blake's Spectre and Soren Kierkegaard's concept of 'dread', whose spirit of negation and irony he seeks to conquer, in both its philosophical and aesthetic manifestations. Using Kierkegaard's philosophy to illuminate Blake's prophecies, Lorraine Clark shows these concepts to offer the basis for a profound critique both of romanticism, as it has come to be identified with the spirit of dialectic, and of the postmodern irony which it has spawned. Their attempt to rescue an ideal of life from its abstraction within idealist dialectics is itself deeply romantic, and offers a dramatisation of tensions - between scepticism and affirmation, religion and nihilism, philosophy and poetry - central to our understanding of romanticism.
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Blake, Kierkegaard, and the Spectre of Dialectic
Blake's late prophecies, The Four Zoas, Milton and Jerusalem, feature a conflict between the poet-prophet Los and a Spectre embodying all he most opposes: intellectual scepticism, religious despair and a systematic philosophical logic of contraries, which is for Blake an abstraction from, and negation of, his ideal of 'life'. In this 1991 book, Lorraine Clark traces the analogy between Blake's Spectre and Soren Kierkegaard's concept of 'dread', whose spirit of negation and irony he seeks to conquer, in both its philosophical and aesthetic manifestations. Using Kierkegaard's philosophy to illuminate Blake's prophecies, Lorraine Clark shows these concepts to offer the basis for a profound critique both of romanticism, as it has come to be identified with the spirit of dialectic, and of the postmodern irony which it has spawned. Their attempt to rescue an ideal of life from its abstraction within idealist dialectics is itself deeply romantic, and offers a dramatisation of tensions - between scepticism and affirmation, religion and nihilism, philosophy and poetry - central to our understanding of romanticism.
R 4,435.50
Re-envisioning Blake
Today Blake scholarship is experiencing a period of unprecedented variety and mutuality. These essays reflect the methodological cross-fertilisations now taking place in Blake scholarship and explore the range of debates and contentions generated by these encounters, embracing figurative, structural, and material readings of Blake's life and works.
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Biblical Tradition in Blake's Early Prophecies
In a detailed examination of the ways in which Blake's use of biblical tradition gives form and meaning to his early prophetic books, Leslie Tannenbaum shows what Blake meant when he called the Bible the Great Code of Art." Originally published in 1982. 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.
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Blake, Deleuzian Aesthetics, and the Digital
This is an exploration of new aspects of Blake's work using the concept of incarnation and drawing on theories of contemporary digital media. Drawing on recent theories of digital media and on the materiality of words and images, this fascinating study makes three original claims about the work of William Blake. First, Blake offers a critique of digital media. His poetry and method of illuminated printing is directed towards uncovering an analogical language. Second, Blake's work can be read as a performative. Finally, Blake's work is at one and the same time immanent and transcendent, aiming to return all forms of divinity and the sacred to the human imagination, stressing that 'all deities reside in the human breast,' but it also stresses that the human has powers or potentials that transcend experience and judgement: deities reside in the human breast. These three claims are explored through the concept of incarnation: the incarnation of ideas in words and images, the incarnation of words in material books and their copies, the incarnation of human actions and events in bodies, and the incarnation of spirit in matter.
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