铺子
发表于 2025-3-27 00:43:34
Hans-Joachim Gorski,Susanne Müller-Philipp proximity of the encounter between Blake’s image-making and the local popular culture of the Strand comes in the appropriation in 1822 by the radical William Benbow of Blake’s stipple engraving with mezzotint, ‘Mrs. Q.,’ after Jean François Marie Huet-Villiers (Worrall 1998).
易发怒
发表于 2025-3-27 03:07:28
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革新
发表于 2025-3-27 05:29:50
Susanne Müller-Philipp,Hans-Joachim Gorskiany way become; she would be none of these things though you were to bray her in a mortar’ (1867, 90) — has been very much a template for subcultural and ‘boho’ appropriations and readings of Blake, from Aleister Crowley to Chris Ofili.
accessory
发表于 2025-3-27 10:10:36
Fragestellungen der euklidischen Geometrie, discourse that is itself ossified and totalising. The text leaves unanswered the question of how the belief in progression through contraries, expressed in plate 3 (E 34), can be related to the apocalyptic politics declared in the first person on plate 14: ‘this I shall do, by printing in the infer
带来
发表于 2025-3-27 15:55:10
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光明正大
发表于 2025-3-27 19:41:34
Susanne Müller-Philipp,Hans-Joachim Gorskion of their discovery of a ‘rich and vital’ tradition of ‘appropriations and misappropriations’ of Blake’s verbal and visual works (., 8, 6). And yet, even the transatlantic triumph of the recent Blake exhibition and the explosion of exemplary critical studies confront a contradiction, an apparent w
aspect
发表于 2025-3-28 00:34:38
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加入
发表于 2025-3-28 02:41:23
Susanne Müller-Philipp,Hans-Joachim Gorskihe engraved heads are identified on the buttons and come with buckles carrying the words: ‘Britain Grand Jubilee 1809’ (Epstein and Saffro, 60). According to Epstein and Saffro, the eighteenth century is ‘without doubt the golden age of the button’ (24). From the 1730s onwards, buttons provide perso
surrogate
发表于 2025-3-28 09:13:17
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新娘
发表于 2025-3-28 14:06:43
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