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 28
... calls the female will . In The Four Zoas , and sometimes else- where , Blake calls this character the Shadowy Female . In the Zoas it is mainly the eponymous character of the earlier version of the poem , Vala , who assumes this name ...
... calls the female will . In The Four Zoas , and sometimes else- where , Blake calls this character the Shadowy Female . In the Zoas it is mainly the eponymous character of the earlier version of the poem , Vala , who assumes this name ...
Pagina 33
... call the Holy and Heavenly City , in which God himself is for those spirits the means of their life and their felicity , is , as it were , their com- mon life and food " ( Book XXII : 1 , 1022 ) . Blake calls his collective fel- lowship ...
... call the Holy and Heavenly City , in which God himself is for those spirits the means of their life and their felicity , is , as it were , their com- mon life and food " ( Book XXII : 1 , 1022 ) . Blake calls his collective fel- lowship ...
Pagina 191
... calls for another mode , a new way of thinking . In his lecture " On Forgiveness " Jacques Derrida claims that " [ s ] ometimes , forgiveness ( given by God , or inspired by divine prescrip- tion ) must be a gracious gift , without ...
... calls for another mode , a new way of thinking . In his lecture " On Forgiveness " Jacques Derrida claims that " [ s ] ometimes , forgiveness ( given by God , or inspired by divine prescrip- tion ) must be a gracious gift , without ...
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