The Torn Book: Unreading William Blake's Marginalia

Susquehanna University Press, 2006 - 213 páginas
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The Torn Book: UnReading William Blake's Marginalia argues for the connection between British poet and painter William Blake's marginalia and the role that often multivalent symbols like pens, writers, readers, and books played in his art. Blake was by no means a copious annotator, but the extant volumes reflect the poet's engagement not only with ideas but also with the materiality through which those ideas are communicated. The Torn Book shows that the marginalia represent important evidence of Blake-as-reader experiencing the typographical features of books printed using the conventional, moveable-type methods of the day. The annotated volumes are thus key to understanding Blake both as a poet and as a bookmaker himself. Jason Snart is an Assistant Professor of English at the College of DuPage.

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Blakes AntiSystem Composite Art
Fixity and Fluidity
Critical Uses Blake and Blakes Marginalia
Blakes Marginalia
Marginalia Further Possibilities
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Página 43 - I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the sea-shore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.
Página 164 - And we have known and believed the love that God hath to us. God is love, and he that dwelleth in love dwelleth in God, and God in him.
Página 161 - And the anger of the Lord was kindled against Uzzah, and God smote him there for his error; and there he died by the ark of God.
Página 46 - If it were not for the Poetic or Prophetic character the Philosophic & Experimental would soon be at the ratio of all things, & stand still, unable to do other than repeat the same dull round over again.
Página 49 - And they conversed together in Visionary forms dramatic which bright Redounded from their Tongues in thunderous majesty, in Visions In new Expanses, creating exemplars of Memory and of Intellect, Creating Space, Creating Time, according to the wonders Divine Of Human Imagination throughout all the Three Regions immense Of Childhood, Manhood & Old Age; & the all tremendous unfathomable Non Ens...
Página 164 - Herein is our love made perfect, that we may have boldness in the day of judgment; because as he is, so are we in this world. There is no fear in love; but perfect love casteth out fear; because fear hath torment; he that feareth is not made perfect in love.
Página 17 - The times are ended; shadows pass the morning gins to break; The fiery joy, that Urizen perverted to ten commands, What night he led the starry hosts thro...
Página 41 - Eagle-like men, who built palaces in the immense cliffs. In the fourth chamber were Lions of flaming fire raging around & melting the metals into living fluids. In the fifth chamber were Unnam'd forms which cast the metals into the expanse. There they were reciev'd by Men who occupied the sixth chamber, and took the forms of books & were arranged in libraries.
Página 163 - A GOD, an ANIMAL, a PLANT, are not companions of man ; nor is the FAULTLESS — then judge with lenity of all; the coolest, wisest, best, all without exception, have their points, their moments of enthusiasm, fanaticism, absence of mind, faint-heartedness, stupidity — if you allow not for these, your criticisms on man will be a mass of accusations or caricatures.
Página 49 - According to the subject of discourse & every Word & Every Character Was Human according to the Expansion or Contraction, the Translucence or Opakeness of Nervous fibres such was the variation of Time & Space Which vary according as the Organs of Perception vary...

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