Titlebook: Blake on Language, Power, and Self-Annihilation; John H. Jones Book 2010 Palgrave Macmillan, a division of Nature America Inc. 2010 commun

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Susanne Müller-Philipp,Hans-Joachim Gorski and obscurity” that, by its very obscurity, brings readers into the creative process by requiring them to interpret and to reinvent the system for themselves, thereby delivering “individuals from systems” (Easson 321). Molly Anne Rothenberg describes the illustration on plate . as a “.” since a fig

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Susanne Müller-Philipp,Hans-Joachim Gorskihich bright / Redounded from their Tongues in thunderous majesty” . 46.8, E 27; . 98.28-29, E 257). Throughout this search for the dialogic ideal, Blake employs multi-voiced genres—including the lyric collection, the Menippean satire, and an epic form that places renewed emphasis on the invocation a

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The Marriage of Heaven And Hell,ut myself, as well as you can, and I will not be fooled by you into opinions, that you please to impose, to disbelieve what you think improbable or impossible” (E 544). In this passage regarding interpretations of history, Blake wants historians to tell him only “the Acts,” the events that have occu

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The [First] Book of Urizen,ts proliferation of self-closed discourse, and the disruption of dialogue. Thus far, we have seen that in the ., Blake explores how individuals struggle to find a place dialogically within the already existing community of discourse, while social institutions impose their own voices on individuals.

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Milton, the previous chapter, . considers the possibility of avoiding and undoing those abuses. As the preface to . clearly indicates, Blake is deeply concerned with the creative process and whether inspiration can be restored with the restructuring of communication: “The Stolen and Perverted Writings of H

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