Blake 2.0 : William Blake in Twentieth-Century Art, Music and Culture

Blake said of his works, 'Tho' I call them Mine I know they are not Mine'. So who owns Blake? Blake has always been more than words on a page. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media. Front Matter....Pages i-xiii Blake 2.0: Introduction....Pages 1-10 Front Matter....Pages 11-11 Mirrored Text/Infinite Planes: Reception Aesthetics in Blake’s Milton....Pages 13-26 ‘Rouze up O Young Men of the New Age!’: William Blake, Theodore Roszak, and the Counter Culture of the 1960s–1970s....Pages 27-40 Digital Blake 2.0....Pages 41-55 ‘Rob & Plunder ... Translate & Copy & Buy & Sell & Criticise, but not Make’: Blake and Copyright Today....Pages 56-68 ‘New matter’: Mona Wilson’s The Life of William Blake 85 Years On....Pages 69-88 Front Matter....Pages 89-89 Celebration and Censure: William Blake and Stories of Masterliness in the British Art World, 1930–59....Pages 91-101 Blake and Surrealism....Pages 102-119 ‘The Sculptor Silent Stands before His Forming Image’: Blake and Contemporary Sculpture....Pages 120-131 ‘Mental Joy & Mental Health / And Mental Friends & Mental Wealth’: Blake and Art Therapy....Pages 132-145 Front Matter....Pages 147-147 ‘And did those feet’? Blake and the Role of the Artist in Post-War Britain....Pages 149-161 Film in a Time of Crisis: Blake, Dead Man, The New Math(s), and Last Days....Pages 162-174 ‘The end of the world. That’s a bad thing right?’: Form and Function from William Blake to Alan Moore....Pages 175-186 Front Matter....Pages 187-187 Blake Set to Music....Pages 189-208 ‘Only the wings on his heels’: Blake and Dylan....Pages 209-229 ‘He Took a Face from the Ancient Gallery’: Blake and Jim Morrison....Pages 230-247 ‘Hear the Drunken Archangel Sing’: Blakean Notes in 1990s Pop Music....Pages 248-262 Mental Fight, Corporeal War, and Righteous Dub: The Struggle for ‘Jerusalem’, 1979–2009....Pages 263-273 Back Matter....Pages 274-309 Cover 1 Contents 6 List of Illustrations 8 Acknowledgements 9 Notes on Contributors 10 List of Abbreviations 14 Blake 2.0: Introduction 15 Part I: Blakean Circulations 25 1 Mirrored Text/Infinite Planes: Reception Aesthetics in Blake's Milton 26 2 'Rouze up O Young Men of the New Age!': William Blake, Theodore Roszak, and the Counter Culture of the 1960s–1970s 40 3 Digital Blake 2.0 54 4 'Rob & Plunder ... Translate & Copy & Buy & Sell & Criticise, but not Make': Blake and Copyright Today 69 5 'New matter': Mona Wilson's The Life of William Blake 85 Years On 82 Part II: Blake and Visual Art 102 6 Celebration and Censure: William Blake and Stories of Masterliness in the British Art World, 1930–59 103 7 Blake and Surrealism 114 8 'The Sculptor Silent Stands before His Forming Image': Blake and Contemporary Sculpture 132 9 'Mental Joy & Mental Health / And Mental Friends & Mental Wealth': Blake and Art Therapy 144 Part III: Blake in Film and Graphic Arts 158 10 'And did those feet?': Blake and the Role of the Artist in Post-War Britain 159 11 Film in a Time of Crisis: Blake, Dead Man, The New Math(s), and Last Days 172 12 'The end of the world. That's a bad thing right?': Form and Function from William Blake to Alan Moore 185 Part IV: Blake in Music 197 13 Blake Set to Music 198 Appendix 13.1 Blake Set to Music: Selected Recordings 211 14 'Only the wings on his heels': Blake and Dylan 218 15 'He Took a Face from the Ancient Gallery': Blake and Jim Morrison 239 16 'Hear the Drunken Archangel Sing': Blakean Notes in 1990s Pop Music 257 17 Mental Fight, Corporeal War, and Righteous Dub: The Struggle for 'Jerusalem', 1979–2009 272 Works Cited 283 Index 307 Blake said of his designs, 'Tho' I call them Mine I know they are not Mine'. Then who owns Blake? Where does his work begin and end? There is something about reading and viewing Blake's multimedia which spurs creation in response. His reception goes far beyond academic criticism because he is more than just a literary figure: artist, printmaker, philosopher, revolutionary, visionary, Blake has always been more than words on a page. This volume follows some of his digital and analog regenerations in the fields of comics, cultural criticism, copyright; sculpture, surrealism, art history, art therapy; film, folk, rock, pop, and the afterlife of Blake's own music and lyrics. A variety of virtual selves has been created for Blake, his works, and his audience by the twentieth-century dissemination across a wide variety of media, and the more recent interactive possibilities raised by Web 2.0 as technology and as concept