Titlebook: Blake, Nation and Empire; Steve Clark (Teaches),David Worrall (Professor and Book 2006 Palgrave Macmillan, a division of Macmillan Publish

Celiac-Plexus

Bloody Blake: Nation and Circulation,ighteenth century. The opposition between circulation and blockage was central to ideas of the health of the nation both literally and metaphorically. The circulation of goods was regarded as the lifeblood of the nation. Knowledge was also often understood in the same way. Susan Matthews’s essay in

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Blake, Hayley and the History of Sexuality, pointed to ‘the overwhelming presence of rape in the birthplace of our civilization, in Ancient Greece and Rome’.. The role of rape in imagined histories was equally obvious to William Hayley in 1785. In his . . he reminds his readers that ‘the Roman empire was founded on a rape, and no less than s

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,Blake and the Syntax of Sentiment: An Essay on ‘Blaking’ Understanding,the period that Northrop Frye long ago christened ‘the Age of Sensibility.’ To locate Blake in such a context, I suggest, is indeed to engage in a practice of ‘historicizing Blake,’ as contributors to this volume’s predecessor did, but it is to do so in a way that they did not. For it also involves

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,‘What is Liberty without Universal Toleration’: Blake, Homosexuality, and the Cooperative Commonweas . Blake took particular exception to Dante’s politics — ‘Dante gives too much [to] Caesar he is not a Republican’ — and to Boyd’s support for state-imposed religious uniformity, to which Blake ripostes, ‘What is Liberty without Universal Toleration[?]’ (E634-35).. In this essay, I take Blake’s rem

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,Erin, Ireland, and the Emanation in Blake’s ,ted through the faux-Irish pubs of Santa Monica, California, in the 1970s. But even worse than a bad joke is an attempt to explain it, as I will now demonstrate. By finding an orthographic feature common to the signifiers, Fergus implies that the signifieds have nothing in common; he might just as w

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Blake after Blake: A Nation Discovers Genius,of Chapman and Hall, his (and Dickens’s) publisher. Chapman, the literary mind of the firm, passed on Gilchrist’s manuscript, perhaps finding the subject insufficiently literary to ‘sell… a fair extent,’ or, like Carlyle, not quite sure what he was selling, a book about a ‘Painter, or ..’ Macmillan