William Blake and GenderMcFarland, Incorporated, Publishers, 2006 - 210 pagina's The closing years of the eighteenth century were the particular domain of literary radicals whose work challenged ideas on gender and sexuality. During this transitional period, the poetry of William Blake reflected the changing mores of society as well as his own developing notions of gender. This work presents an in-depth exploration of gender issues in Blake's three epic poems, The Four Zoas, Milton and Jerusalem. The opening chapter discusses basic concepts such as notions of apocalypse, utopia and gender, all essential to the author's reading of Blake. Background regarding the literary atmosphere of the time, which included influence from the tradition of dissent, English Jacobinism and early feminism, is also included, effectively setting the context for Blake's work. The book then examines the poems in chronological order. It concentrates particularly on male and female activity within each work (refuting the common assumption that Blake was anti-feminist) while exploring the symbolism of the poetry. Blake's repeated theme of the struggle between the sexes receives special emphasis, as does the progress of his gender vision through the three poems. |
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Pagina 62
... Oothoon in Visions , although her newly acquired experience is hard - won and disastrous , succeeds in this rite - de - passage , Thel utterly fails and relapses back to childhood . Hence , while Oothoon is a strong character at the ...
... Oothoon in Visions , although her newly acquired experience is hard - won and disastrous , succeeds in this rite - de - passage , Thel utterly fails and relapses back to childhood . Hence , while Oothoon is a strong character at the ...
Pagina 64
... Oothoon spends the rest of the poem chained back to back to Bromion , and not even her beloved Theotormon shows any inclination to liberate her . In other words , this could be traditionally interpreted as a classic female depiction of ...
... Oothoon spends the rest of the poem chained back to back to Bromion , and not even her beloved Theotormon shows any inclination to liberate her . In other words , this could be traditionally interpreted as a classic female depiction of ...
Pagina 65
... Oothoon's sighs from her fellow sisters , the Daughters of Albion : Thus every morning wails Oothoon . But Theotormon sits Upon the margind ocean conversing with shadows dire , The Daughters of Albion hear her woes , & eccho back her ...
... Oothoon's sighs from her fellow sisters , the Daughters of Albion : Thus every morning wails Oothoon . But Theotormon sits Upon the margind ocean conversing with shadows dire , The Daughters of Albion hear her woes , & eccho back her ...
Inhoudsopgave
Introduction | 1 |
2Blakes Radical Context | 40 |
3The Gender Utopia of The Four Zoas | 60 |
Copyright | |
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acter Ahania Alicia Ostriker already apocalypse become Beulah Bible biblical Blake criticism Blake's female Blake's gender utopia Blake's poetry Blake's utopia Blake's view Book Book of Urizen concept counterpart crucial Damrosch dark Daughters of Albion death Elynittria Enion Enitharmon epic poems Eternity fallen existence fallen world Felpham female activity female characters feminist final Night Four Zoas fourfold gender equality gender interactivity heaven human ideas images important innocence jealousy Jerusalem Joseph Johnson's Keri Davies Leutha London Los's Luvah major epics male and female male characters male-female reunion male-female togetherness mankind Milton and Ololon Milton Blake Muggletonians mythological negation negative Oothoon Palamabron Paradise passage patriarchal plate poetic positive prophecies prophetic radical Rahab reunited Revelation Rintrah Satan sexes sexual significant song Spectre structure Swedenborgian sweet symbols Tharmas thee thou tion Tirzah traditional Ulro Urizen Urthona utopian existence Vala visionary Visions William Blake Wollstonecraft woman women