Titlebook: Blake and Modern Literature; Edward Larrissy Book 2006 Palgrave Macmillan, a division of Macmillan Publishers Limited 2006 English literat

树胶

没花的是打扰

Blake and Joyce,moderns are inclined to forget the unstable effects this collocation could bring about: inclined to forget, also, that when moderns came to react against the nineteenth century, nevertheless both partners in this strange couple could continue to have effects. This is true, for instance, of Ezra Poun

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,Deposits’ and ‘Rehearsals’: Repetition and Redemption in , of David Jones A Comparison and Contrastet, as with repetition, there has to be similitude as well as dissimilitude between the items compared for the word to mean anything in this fallen world. Blake has often, of course, been compared with Jones, who early became an admirer.. And there are sufficient similarities, at least when they are

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Blake, Postmodernity and Postmodernism,g to become a subject of intellectual debate. A traditional model of the relationship between past and present might be used to support the claim that just as modernism was indebted to Romanticism, so postmodernism is indebted to such features as Romantic irony, the cult of the rootlessly self-fashi

FIS

,Joyce Cary: Getting it from the Horse’s Mouth,se of Blake himself. In any case, that is one way of describing a novel in which most of the thoughts of the central character — Gulley Jimson, a painter — are buttressed by quotations from the master, many of them of some length. It is not surprising to find that Blake was a formative influence, re

一再遛

Two American Disciples of Blake: Robert Duncan and Allen Ginsberg,ause his work incorporates the ‘magic’ which had been discarded by fundamentalists and demythologisers alike.. Hatlen makes the word magic do a lot of work, for he moves swiftly from the topic of lost wonder to the traditional structure of magical belief, as if the wonder were always a by-product of

天真

Postmodern Myths and Lies: Iain Sinclair and Angela Carter,h justice: American. In looking for models which transcended what were seen as the limitations of the Movement and post-Movement poetry which constituted the British ‘establishment’, America seemed to offer not only a view of human nature which transcended the ‘gentility’ of which Alvarez complained

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