Titlebook: Blake 2.0; William Blake in Twe Steve Clark (Visiting Professor),Tristanne Connoll Book 2012 Palgrave Macmillan, a division of Macmillan Pu

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‘Rouze up O Young Men of the New Age!’: William Blake, Theodore Roszak, and the Counter Culture of tst, Blake’ (. 322). But why Blake? And why the 1960s and 1970s? Given his modest early reputation, why should Blake, more than 130 years after his death, become so prominent in the popular imagination that he was able to rub shoulders with Lao-tse, Christ, Marx, and indeed a host of other luminaries?

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Digital Blake 2.0ld Blake have approved of the William Blake Archive?’ (29). The Archive has itself been the focus of enormous theoretical reflection. The ‘Articles about the Archive’ section on the Archive website lists 54 journal articles, reviews, and miscellanea that either discuss the archive or use its resourc

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‘Rob & Plunder … Translate & Copy & Buy & Sell & Criticise, but not Make’: Blake and Copyright Todayt unexpected places. For the exploration of copyright and Blake’s works covered within this chapter, I would like to begin with two examples of unexpected encounters with Blake that are separated by more than a century.

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Celebration and Censure: William Blake and Stories of Masterliness in the British Art World, 1930–59 his true aesthetic personality, temperament, and identity. From at least the early part of the twentieth century, it is possible to isolate a number of dominant versions of Blake’s artistic sensibility: the Mahlerian romantic who uses colour, form, and texture to paint a joyous world bursting with

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Blake and Surrealismo systematic research on the subject, and the story seems to have only been told from one aspect. While the Surrealists were happy to mention Blake’s legacy in their art or literature, Blake scholars have been more reluctant to admit the same, or even to recognize any affinities whatsoever between B

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‘The Sculptor Silent Stands before His Forming Image’: Blake and Contemporary Sculpturecultural and aesthetic importance of sculpture, in the eyes of his fellow acade micians. Part of Flaxman’s strategy was to remind the Academy of the ideological battles fought by the painters and sculptors of the Italian Renaissance to secure their respective arts’ intellectual parity with poetry. F