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Issues) and Begin with the Summer Is• University of Tsukuba in Japan, Has Been Publishing Books Sue AN ILLUSTRATED QUARTERLY Adam Komisaruk Models Blake VOLUME 38 NUMBER 3 WINTER 2004-05 £%Ue AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME 38 NUMBER 3 WINTER 2004-05 CONTENTS Article Introducing The Blake Model Blake at Work Exhibition, Tate Britain, London By Adam Komisaruk 92 Reviewed by Antoine Capet 115 Reviews Newsletter Tristanne J. Connolly, William Blake and the Body Online Features 119 Reviewed by Thomas Frosch 102 Alexander S. Gourlay, ed., Prophetic Character: Poem Essays on William Blake in Honor of John E. Grant Reviewed by Joseph Wittreich 107 Nobodaddy Wakes from His Slumber (After Blake 12) The Program of the International Blake Conference Blake in By David Shaddock 119 the Orient and the Catalogue of a Concurrent Exhibition The Reception of Blake in Japan Reviewed by Yoko Ima-Izumi 109 ADVISORY BOARD G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles Detlef W. 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 Western Ontario CONTRIBUTORS Morton D. Paley, Department of English, University of California, Berkeley CA 94720-1030 Email: [email protected] ADAM KOMISARUK is assistant professor of English at West Vir• ginia University. He is the author of articles on "Monk" Lew• G. E. Bentley, Jr., 246 Macpherson Avenue, Toronto, is, Mary Shelley, Thomas Rowlandson, Mary Wollstonecraft, Ontario M4V 1A2 Canada and Lord Byron. His works in progress include a book-length study of sexuality and the growth of the middle class in Brit• Nelson Hilton, Department of English, University of ish Romanticism. Georgia, Athens GA 30602 Email: [email protected] THOMAS FROSCH is professor of English at Queens College of the City University of New York and author of The Awakening David Worrall, Faculty of Humanities, The Nottingham Trent of Albion: The Renovation of the Body in the Poetry of William University, Clifton Lane, Nottingham NG11 8NS U.K. Blake, as well as articles on Wordsworth, Shelley, and Keats. Email: [email protected] JOSEPH WITTREICH is distinguished professor of English at the Graduate Center of the City University of New York and, most INFORMATION recently, the author of Shifting Contexts: Reinterpreting Sam• son Agonistes and co-editor of Altering Eyes: New Perspectives BLAKE/AN ILLUSTRATED QUARTERLY is published under the sponsorship on Samson Agonistes. of the Department of English, University of Rochester. Subscrip• tions are $60 for institutions, $30 for individuals. All subscriptions YOKO IMA-IZUMI, professor of English and film studies at the are by the volume (1 year, 4 issues) and begin with the summer is• University of Tsukuba in Japan, has been publishing books sue. Subscription payments received after the summer issue will be and essays on William Blake, Romantic literature, and Japa• applied to the current volume. Addresses outside the U.S., Canada, nese film. Her recent publications (in Japanese) include Close- and Mexico require a $15 per volume postal surcharge for sur• Ups of the Woman: Reframing Japanese Cinema (1997), Rep• face delivery, or $20 for airmail. Credit card payment is available. Make checks payable to Blake/An Illustrated Quarterly. Address all resentations of the Female Body in English Literature and Film subscription orders and related communications to Sarah Jones, (1999), Blake's Revision of the Female (2001), and Film Syntax: Blake, Department of English, University of Rochester, Rochester Shot Analysis of Japanese Film (2004). NY 14627-0451. Back issues are available; address Sarah Jones for information on issues and prices, or consult the web site. Professor ANTOINE CAPET is head of British studies at the Uni• versity of Rouen. MANUSCRIPTS are welcome in either hard copy or electronic form. Send two copies, typed and documented according to forms sug• DAVID SHADDOCK is a poet and psychotherapist. His After Blake gested in the MLA Style Manual, and with pages numbered, to either of the editors: Morris Eaves, Dept. of English, University of won the Ruah Power of Poetry prize for a chapbook of spiri• Rochester, Rochester NY 14627-0451; Morton D. Paley, Dept. of tual poems. English, University of California, Berkeley CA 94720-1030. No articles will be returned unless accompanied by a stamped self- addressed envelope. For electronic submissions, you may send a diskette, or send your article as an attachment to an email mes• EDITORS sage; please number the pages of electronic submissions. The pre• ferred file format is RTF; other formats are usually acceptable. EDITORS: Morris Eaves and Morton D. Paley INTERNATIONAL STANDARD SERIAL NUMBER: 0160-628x. Blake/An Illus• trated Quarterly is indexed in the Modern Language Association's BIBLIOGRAPHER: G. E. Bentley, Jr. International Bibliography, the Modern Humanities Research REVIEW EDITOR: Nelson Hilton Association's Annual Bibliography of English Language and Lit• ASSOCIATE EDITOR FOR GREAT BRITAIN: David Worrall erature, American Humanities Index, Arts and Humanities Cita• tion Index, Current Contents and the Bibliography of the History PRODUCTION OFFICE: Department of English, Morey 410, of Art. University of Rochester, Rochester NY 14627-0451 © 2005 Copyright Morris Eaves and Morton D. Paley MANAGING EDITOR: Sarah Jones [email protected] TELEPHONE: 585/275-3820 FAX: 585/442-5769 Cover: (clockwise, from top left) Landscape in Ulro with Golgonooza (created in Bryce 3D by Adam Komisaruk); Cathedron (by Fred Yee); Representation of Jerusalem 12:54-60, 14:29-30, associating points of Morris Eaves, Department of English, University of the compass with sensory trajectories (created in Bryce 3D by Adam Rochester, Rochester NY 14627-0451 Komisaruk); Three-dimensional body scan recreating Blake's Milton, Email: [email protected] plate 31 (Brian Corey, model). i. Eternal Name Luvah Uriien Tharmas I'rthona R x. Time Name Ore C. Cherub 3. Emanation Vala Ahania Enion (Enitharmon) 4. Quality Love Wisdom Power Fancy 5. Zoa (Bible) Bull Eagle Man 6. Sense Nose Eye Tongue Ear Introducing The Blake Model 7. Body Part Head Heart Legs 8. Metal (Bible) Gold q. Position Centre Zenith Circumference Nadir 10. Nature (Sky) Stars Sun Moon Mountains 11. Element Fire Air Water Earth BY ADAM KOMISARUK 12. E. Spirits Genii Fairies Nymphs Gnomes 13. State "Generation" Eden Beulah "Ulro" 14. Place Soil City Garden t'nderground 15. Activity Plowman Shepherd Blacksmith Editors' note: An online version of this article 16. Art Painting Architecture Poetry 17. Planet Mercury Earth is available on the journal's web site at 18. Point South West North <http://www.blakeq14artcrly.org>. 19. Season Spring Summer Autumn Winter so. Time of Day Morning Noon Evening Night xi. Age Youth Maturity Age "Death" (sleep) xx. Son of Los Palamabron Rintrah Theotormon Bromion he present project arises from my effort, over the years, 23. Emanation Elynittria Ocalythron Oothoon (none) X4. City London Verularn York Edinburgh Tto hone a concise explanation of Blake's mythology to 15. Evangelist Luke Mark Matthew 26. Color (Fallen) Red White Blue myself, my colleagues and my students. As a diagram junk• 27. Virtue Faith Hope 28. Vice Doubt Dullness ie, I have several schemata at my disposal, including Alicia 29. Eden River Pison Hiddekel Gihon Euphrates Ostriker's chart of the zoas and their attributes from the Pen• guin Complete Poems (illus. 1); Northrop Frye's earlier and more extensive version from Fearful Symmetry (illus. 2); S. GOLGONOOZA Foster Damon's map of Golgonooza, the city of art, from The Blake Dictionary (illus. 3); or my own family tree of Blake's cast of characters (illus. 4).1 Where each of these schemata falls short, however, is in its inability to represent fully the spatial extent of Blake's vision. Damon himself says in a foot• note to his diagram, "Golgonooza, being four-dimensional, cannot be reduced to a chart of two dimensions. Each of the four gates not only opens into each of the other gates but does so 'each within other toward the Four points' (J[erusalem] 12:48)" (163). Thus about four years ago the idea occurred to me of developing a physical model that could visualize Blake's For their feedback and assistance with this project I am indebted to Sandy Baldwin, Joshua David Gonsalves, Stephen Harris, Adam Home, Jeremy Jarrell, Wayne Ripley, Frances Van Scoy and Susan Warshauer. For further reflections on the project described herein, see Adam Komisaruk, Steve Guynup and Fred Yee, "Blake and Virtuality: An Ex• change," Digital Designs on Blake, ed. Ron Broglio, Romantic Circles Praxis Series, forthcoming <http://www.rc.umd.edu/praxis/>. 1. All my Blake quotations are from The (Complete Poetry and Prose of William Blake, ed. David V. Erdman, newly revised ed. (New York: An• chor, 1988), hereafter "E." THARMAl VRTHONA (Emanation) (AH AN I A) (KNION) (IN 1TH ARMON) 'Prince of 'Prince of light' 1. (left) Chart of the zoas and their properties. William Blake, Reason Passion Sensation Instinct Faculty The Complete Poems, ed. Alicia Ostriker (1977; New York: Eternal Role Ploughman Vintner Shepherd Blacksmith Penguin, 1988) 1048 (reprinted by permission of Penguin). Eternal Virtue Faith, Love Coherence, Creativity certainty receptivity 2. (above, top) Chart of the zoas and their properties. Northrop Fallen Form 'God, ORC (SHADOWY Priest, (KNITHARM ON) live, Fearful Symmetry: A Study of William Blake (1947; King' 'Demon Red' 'Eternal Prophet' K? Princeton: Princeton UP, 1990) 277-78 (reprinted by permission Fallen Character Flood, Chaos Poetry, Tyranny Revolution I'lI'lilllTV of Princeton UP, ©1947,1969 revised edition, 1975 renewed). EIl-Ml.'llt Air (light) Fire (heat) Earth 3. (above, bottom) Map of Golgonooza. S. Foster Damon, S. (zenith) E. (centre) W. (circum• N. (uadir) ference) A Make Dictionary: The Ideas and Symbols of William Blake, Note: Lot and Emlharmon are born from Thmrmtu and Enton and in turn become the rev.
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