Titlebook: Blake’s Poetry: Spectral Visions; Steven Vine Book 1993 Steven Vine 1993 epic.poet.poetics.poetry

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Aerophagia

Critical Exclusions: Spectres and Blake Criticism,philosophical contexts) now constitutes something of an interpretive citadel in itself, as if Blake criticism aspired to be a saving corpus upon which, like the unsteady figure of Jehovah in the design from ., Blake can safely lean.

無辜

,Qualit?tssicherung in der Nuklearmedizin,philosophical contexts) now constitutes something of an interpretive citadel in itself, as if Blake criticism aspired to be a saving corpus upon which, like the unsteady figure of Jehovah in the design from ., Blake can safely lean.

矛盾

ic Jerusalem, ceaselessly explored the conflicts between limitation and possibility, reason and energy, torment and joy. But the contradictions within Blake‘s own ‘visionary‘ poetics are less often considered. Throughout his work, Blake powerfully dramatises the energies and agonies of his own poeti

油氈

Rct393

Awning

,‘Drawing a third part’: Destruction and Redemption in Milton,nto the name of the great English poet and divides it — it becomes MIL/TON. This act neatly figures the ambivalence around which the whole of . turns, for the poem performs an act of revision which is both a redemption of Milton as poetic father and a violence committed against him. Indeed, Blake’s

HALO

Self-Help-Group

,‘Drawing a third part’: Destruction and Redemption in Milton, As a radically revisionary text, Blake’s . usurps the authority of its poetic father’s truth, daringly reinventing him. But this re-invention also involves an act of disinventing, insubordination and violence, and the text gives Milton a new body in a move that, as the title page suggests, also dis

CUMB

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