An 'Immortal Hand'
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A Checklist of Publications and Discoveries in 2013
ARTICLE Part II: Reproductions of Drawings and Paintings Section A: Illustrations of Individual Authors Section B: Collections and Selections Part III: Commercial Engravings Section A: Illustrations of Individual Authors William Blake and His Circle: Part IV: Catalogues and Bibliographies A Checklist of Publications and Section A: Individual Catalogues Section B: Collections and Selections Discoveries in 2013 Part V: Books Owned by William Blake the Poet Part VI: Criticism, Biography, and Scholarly Studies By G. E. Bentley, Jr. Division II: Blake’s Circle Blake Publications and Discoveries in 2013 with the assistance of Hikari Sato for Japanese publications and of Fernando 1 The checklist of Blake publications recorded in 2013 in- Castanedo for Spanish publications cludes works in French, German, Japanese, Russian, Span- ish, and Ukrainian, and there are doctoral dissertations G. E. Bentley, Jr. ([email protected]) is try- from Birmingham, Cambridge, City University of New ing to learn how to recognize the many styles of hand- York, Florida State, Hiroshima, Maryland, Northwestern, writing of a professional calligrapher like Blake, who Oxford, Universidade Federal de Santa Maria, Voronezh used four distinct hands in The Four Zoas. State, and Wrocław. The Folio Society facsimile of Blake’s designs for Gray’s Poems and the detailed records of “Sale Editors’ notes: Catalogues of Blake’s Works 1791-2013” are likely to prove The invaluable Bentley checklist has grown to the point to be among the most lastingly valuable of the works listed. where we are unable to publish it in its entirety. All the material will be incorporated into the cumulative Gallica “William Blake and His Circle” and “Sale Catalogues of William Blake’s Works” on the Bentley Blake Collection 2 A wonderful resource new to me is Gallica <http://gallica. -
The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (Guest Post)*
“The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (guest post)* Original album cover Original label The Doors One of the most explosive debut albums in history, “The Doors” boasted an unprecedented fusion of rock with blues, jazz, and classical music. With their hypnotic blend of Ray Manzarek’s eerie organ, Robby Krieger’s flamenco-flecked guitar runs, and John Densmore’s cool jazz-driven drumming, the band were among the foremost pioneers of California psychedelia. Jim Morrison’s brooding, haunting vocals injected a new strand of literate poetry into rock music, exploring both the majestic highs and the darkest corners of the human experience. The Byrds, Bob Dylan, and other folk-rockers were already bringing more sophisticated lyrics into rock when the Doors formed in Los Angeles in the summer of 1965. Unlike those slightly earlier innovators, however, the Doors were not electrified folkies. Indeed, their backgrounds were so diverse, it’s a miracle they came together in the first place. Chicago native Manzarek, already in his late 20s, was schooled in jazz and blues. Native Angelenos Krieger and Densmore, barely in their 20s, when the band started to generate a local following, had more open ears to jazz and blues than most fledgling rock musicians. The charismatic Morrison, who’d met Manzarek when the pair were studying film at the University of California at Los Angeles, had no professional musical experience. He had a frighteningly resonant voice, however, and his voracious reading of beat literature informed the poetry he’d soon put to music. -
Harpernonfiction to Publish Rock Legend, Iron Maiden's
HARPERNONFICTION TO PUBLISH ROCK LEGEND, IRON MAIDEN’S BRUCE DICKINSON THIS AUTUMN FOR IMMEDIATE RELEASE: 26th July 2017 This Autumn HarperNonFiction are publishing What Does This Button Do?, the hugely anticipated memoir from Iron Maiden frontman and rock legend, Bruce Dickinson. Heavy metal pioneers since their formation in 1975, Iron Maiden have sold over 90 million albums and played over 2000 shows in 63 countries, making them one of the most successful and globally influential bands of all time. One of the world’s most storied musicians, Bruce Dickinson has been the band’s internationally- acclaimed lead singer for more than 30 years, and quite aside from the decades spent delivering high- octane performances with his larger-than-life persona, Bruce has lived an extraordinary off-stage existence too. A true polymath, Bruce is, or has been, an airline pilot and captain, an aviation entrepreneur, a beer brewer, motivational speaker, film scriptwriter, twice-published novelist, radio presenter, TV actor and a world-class fencer. Over the last couple of years, and throughout Iron Maiden’s The Book Of Souls World Tour, which has covered 39 countries and 117 shows since February 2016, Bruce has turned his unbridled creativity to writing his memoirs, longhand (in seven A4 notebooks no less). In What Does This Button Do?, Bruce (a man who famously never gives interviews about his personal life) shares, for the first time, the most fascinating recollections, including his thirty years with Maiden, the early days, his childhood within the eccentric British school system, going solo, realising his dream of flying jumbo jets and his recent battle with tongue cancer. -
William Blake's Songs of Innocence and of Experience: from Innocence to Experience to Wise Innocence Robert W
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1977 William Blake's Songs of Innocence and of Experience: From Innocence to Experience to Wise Innocence Robert W. Winkleblack Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Winkleblack, Robert W., "William Blake's Songs of Innocence and of Experience: From Innocence to Experience to Wise Innocence" (1977). Masters Theses. 3328. https://thekeep.eiu.edu/theses/3328 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. �S"Date J /_'117 Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ��--��- Date Author pdm WILLIAM BLAKE'S SONGS OF INNOCENCE AND OF EXPERIENCE: - FROM INNOCENCE TO EXPERIENCE TO WISE INNOCENCE (TITLE) BY Robert W . -
Auguries of Innocence
1 1803 AUGURIES OF INNOCENCE William Blake Blake, William (1757-1827) - English poet, engraver, and mystic who illustrated his own works. A rare genius, he created some of the purest lyrics in the English language. Blake believed himself to be guided by visions from the spiritual world; he died singing of the glories of heaven. Auguries of Innocence (1803) - Opening lines: To see a World in a Grain of Sand / And a Heaven in a Wild Flower... 2 AUGURIES OF INNOCENCE To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour. A Robin Red breast in a Cage Puts all Heaven in a Rage. A dove house fill’d with doves & Pigeons Shudders Hell thro’ all its regions. A dog starv’d at his Master’s Gate Predicts the ruin of the State. A Horse misus’d upon the Road Calls to Heaven for Human blood. Each outcry of the hunted Hare A fibre from the Brain does tear. A Skylark wounded in the wing, A Cherubim does cease to sing. The Game Cock clip’d & arm’d for fight Does the Rising Sun affright. Every Wolf’s & Lion’s howl Raises from Hell a Human Soul. The wild deer, wand’ring her & there, Keeps the Human Soul from Care. The Lamb misus’d breeds Public strife And yet forgives the Butcher’s Knife. The Bat that flits at close of Eve Has left the Brain that won’t Believe. The Owl that calls upon the Night Speaks the Unbeliever’s fright. -
Issues) and Begin with the Summer Issue
BLAKE AN . ILLUSTRATED QUARTERLY Blake in the Marketplace for 2010 / J VOLUME44 NUMBER 4 SPRING 2011 AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME44 NUMBER4 SPRING 2011 CONTENTS Article Review Blake in the Marketplace, 2010 Mind-Forg'd Manacles: William Blake and Slavery, By Robert N. Essick 116 Whitworth Art Gallery, University of Manchester, 26 January-6 April 2008; Blake's Shadow: William Blake and His Artistic Legacy, Whitworth Gallery, 26 January-20 April 2008 Reviewed by Jeremy Tambling 142 Newsletter Blake Goes Online 143 A D V I s 0 R y B 0 A R D G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles DetlefW Dorrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Esterhammer, University of Zurich CONTRIBUTORS David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NG 11 SNS UK E-mail: [email protected]. uk ROBERT N. ESSICK has been collecting and writing about Blake for over forty years. JEREMY TAMBLING ([email protected]) is professor of literature at the University of Manchester and INFORMATION author of Blake's Night Thoughts (2004) and of several other monographs on nineteenth- and twentieth-century moder nity. BLAKE/AN ILLUSTRATED QUARTERLY is published under the sponsorship of the Department ofEnglish, University of Roch ester. Subscriptions are $66 for institutions, $33 for individu als. All subscriptions are by the volume ( 1 year, 4 issues) and begin with the summer issue. -
The Visionary Company
WILLIAM BLAKE 49 rible world offering no compensations for such denial, The] can bear reality no longer and with a shriek flees back "unhinder' d" into her paradise. It will turn in time into a dungeon of Ulro for her, by the law of Blake's dialectic, for "where man is not, nature is barren"and The] has refused to become man. The pleasures of reading The Book of Thel, once the poem is understood, are very nearly unique among the pleasures of litera ture. Though the poem ends in voluntary negation, its tone until the vehement last section is a technical triumph over the problem of depicting a Beulah world in which all contraries are equally true. Thel's world is precariously beautiful; one false phrase and its looking-glass reality would be shattered, yet Blake's diction re mains firm even as he sets forth a vision of fragility. Had Thel been able to maintain herself in Experience, she might have re covered Innocence within it. The poem's last plate shows a serpent guided by three children who ride upon him, as a final emblem of sexual Generation tamed by the Innocent vision. The mood of the poem culminates in regret, which the poem's earlier tone prophe sied. VISIONS OF THE DAUGHTERS OF ALBION The heroine of Visions of the Daughters of Albion ( 1793), Oothoon, is the redemption of the timid virgin Thel. Thel's final griefwas only pathetic, and her failure of will a doom to vegetative self-absorption. Oothoon's fate has the dignity of the tragic. -
Voices in the Hall: Sam Bush (Part 1) Episode Transcript
VOICES IN THE HALL: SAM BUSH (PART 1) EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest is a pioneer of New-grass music, Sam Bush. SAM BUSH When I first started playing, my dad had these fiddle albums. And I loved to listen to them. And then realized that one of the things I liked about them was the sound of the fiddle and the mandolin playing in unison together. And that’s when it occurred to me that I was trying on the mandolin to note it like a fiddle player notes. Then I discovered Bluegrass and the great players like Bill Monroe of course. You can specifically trace Bluegrass music to the origins. That it was started by Bill Monroe after he and his brother had a duet of mandolin and guitar for so many years, the Monroe Brothers. And then when he started his band, we're just fortunate that he was from the state of Kentucky, the Bluegrass State. And that's why they called them The Bluegrass Boys. And lo and behold we got Bluegrass music out of it. PETER COOPER It’s Voices in the Hall, with Sam Bush. “Callin’ Baton Rouge” – New Grass Revival (Best Of / Capitol) PETER COOPER “Callin’ Baton Rouge," by the New Grass Revival. That song was a prime influence on Garth Brooks, who later recorded it. Now, New Grass Revival’s founding member, Sam Bush, is a mandolin revolutionary whose virtuosity and broad- minded approach to music has changed a bunch of things for the better. -
Tales of Cherry Blossom Dreams Kelly Dykstra Grand Valley State University, [email protected]
Grand Valley State University ScholarWorks@GVSU Honors Projects Undergraduate Research and Creative Practice 8-2018 Tales of Cherry Blossom Dreams Kelly Dykstra Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/honorsprojects Part of the Creative Writing Commons, and the Japanese Studies Commons Recommended Citation Dykstra, Kelly, "Tales of Cherry Blossom Dreams" (2018). Honors Projects. 700. https://scholarworks.gvsu.edu/honorsprojects/700 This Open Access is brought to you for free and open access by the Undergraduate Research and Creative Practice at ScholarWorks@GVSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Kelly Dykstra 1 1 In his old age the emperor was blessed with a son by one of his highest-ranking consorts. In the days of her youth she had been a favorite of the emperor, but it had been many years since she had last born him a child, and her beauty had begun to fade with age. In vain she made efforts to improve the quality of her salon, gathering many talented ladies in waiting around herself to draw the emperor’s attention. However, the emperor was seduced with the fresh beauty and childish charm of some of his younger consorts, and this lady was left to resign herself to remembrances of what had once been. There was a younger man at court who had desired this lady for years. He was generally agreed to be a highly desirable and most handsome gentleman, though this lady had stayed faithful to the emperor for years despite this man’s advances. -
Directing an Immersive Adaptation of Strindberg's a Dream Play
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses October 2018 Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play Mary-Corinne Miller University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Dramatic Literature, Criticism and Theory Commons, Interactive Arts Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Miller, Mary-Corinne, "Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play" (2018). Masters Theses. 730. https://doi.org/10.7275/12087874 https://scholarworks.umass.edu/masters_theses_2/730 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS September 2018 Department of Theater © Copyright by Mary Corinne Miller 2018 All Rights Reserved INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Approved as to style and content by: ____________________________________ Gina Kaufmann, Chair ____________________________________ Harley Erdman, Member ____________________________________ Gilbert McCauley, Member ____________________________________ Amy Altadonna, Member ____________________________ Gina Kaufmann, Department Head Department of Theater DEDICATION To my son, Everett You are my dream come true. -
The Magic Kingdom
Copyrighted Material The Magic Kingdom And as in the daily casualties of life every man is, as it were, threatened with numberless deaths, so long as it remains un certain which of them is his fate, I would ask whether it is not better to suffer one and die, than to live in fear of all? —St. Augustine, City of God This morning, I found on a slip of paper tucked into a book a list of questions I’d written down years ago to ask the doctor. What if it has spread? Is it possible I’m crazy? I’ve just returned from Florida, from visiting my mother’s last sister, who is eighty & doing fine. At the airport, my flight grounded by a storm, I bought a magazine, which fell open to a photograph of three roseate spoonbills tossing down their elegant shadows on a chartreuse field of fertilizer production waste. Two little girls emptied their Ziplocs of Pepperidge Farm Goldfi sh onto the carpet & picked them up, one by one, with great delicacy, before popping them into their mouths. Their mother, outside smoking, kept an eye on them through the glass. After my cousin died, my father died & then my brother. Next, my father’s older brother & his wife. And, finally, after my mother died, I expected to die myself. And because this happened very quickly & because these were, really, almost all the people I knew, I spent each day smashing dishes with one of my uncle’s hammers & gluing them back together in new ways. It was strange work, & dangerous, even though I tried to protect myself— 5 Copyrighted Material wearing a quilted bathrobe & goggles & leather work gloves & opening all the windows, even in snow, against the vapors of the industrial adhesives. -
Blaze Bayley, Risactonia, Black Atom @ Caesar's
BLAZE BAYLEY CAESAR’S PALACE, MONDAY 5TH MARCH ‘This is a song about how machines are going to take over the world. Because when that happens, there will be a Second Messiah!’ Like, yeah Blaze, whatever man. Let’s get this straight: I don’t like Iron Maiden. I can’t hear that name without thinking of widdly guitar solos, pompous over-the-top lyrics, grown men in shorts, Dungeons & Dragons, scampi flavour Nik-Naks, sacrificial virgins - you get the picture. So what am I doing at a gig whose main attraction is Blaze Bayley, the man who fronted Maiden through what is considered to have been their worst years? Well, there is the added bonus of Risactonia and Black Atom, two bands that are always good to watch. And I have been informed that Blaze’s solo material sounds nothing like that of his previous employers. Anyway, who can resist a good metal gig? This is Aberdeen after all, a lonely outpost that plays host to such diverse names as David Gray and Coldplay. It’s just too good an opportunity to miss. By the time Blaze come on, a steady crowd has gathered, largely made up of old Maiden fans, who seem to crawl out of the woodwork whenever such events come around, plus a good number of metal kids. Even Fudge decide to grace us with their presence. Black seems to be the colour of choice tonight. The band are dressed in black. The stage is black. And I am wearing, well, white for some reason. The other thing I should mention about the stage is the huge drum-kit that takes up half of it.