The Contraries’ Progression: Romantic irony in the introductory poems of William Blake’s Songs of Innocence and of Experience

In the vast bibliography on William Blake, scholars usually comment on the irony in his poetic works, but seldom they explain such comments. This paper is an attempt to understand the ironies present in some poems of Songs of Innocence and of Experience, while at the same time taking into consideration the dialectical quality of Blake’s thought. To do so, the concept of Romantic irony, developed by Friedrich Schlegel, is used, as it is also dialectical in its nature. In order to illustrate how Romantic irony is used to read the volume, an analysis of the introductory poems of each section, along with “Earth’s Answer” (the second introduction’s coda) and two plates which illustrate these poems, is made. The readings show some affinities between Blake’s and Schlegel’s way of thinking.

Plate for The Lamb

One of Blake's engraved plates for The Lamb from his Songs of Innocence

Plate for The Divine Image

One of Blake's engraved plates for The Divine Image from his Songs of Innocence

Taking Clinical Legal Education Online: Songs of Innocence and Experience

<p>In common with the wider higher education sector, clinical legal education practitioners are facing the challenge of how to adapt their teaching practices to accommodate the restrictions imposed by governmental responses to the Covid-19 pandemic. Facilitating distance learning via online technologies has unsurprisingly become an area of increasing interest in the hope that it may offer a potential solution to the problem of how to continue teaching undergraduates in a socially distanced environment.</p><p><br />This paper seeks to provide clinical legal education practitioners with evidence-based insights into the challenges and opportunities afforded by using digital technologies to deliver clinical legal education. It adopts a case study approach by reflecting on the Open Justice Centre’s four-year experience of experimenting with online technologies to provide meaningful and socially useful legal pro bono projects for students studying a credit bearing undergraduate law module. It will analyse how a number of different types of pro bono activity were translated into an online environment, identify common obstacles and posit possible solutions. In doing so, this paper aims to provide a timely contribution to the literature on clinical legal education and offer a means to support colleagues in law schools in the UK and internationally, who are grappling with the challenges presented by taking clinical legal education online.</p>

Taking Clinical Legal Education Online: Songs of Innocence and Experience

In common with the wider higher education sector, clinical legal education practitioners are facing the challenge of how to adapt their teaching practices to accommodate the restrictions imposed by governmental responses to the Covid-19 pandemic. Facilitating distance learning via online technologies has unsurprisingly become an area of increasing interest in the hope that it may offer a potential solution to the problem of how to continue teaching undergraduates in a socially distanced environment.This paper seeks to provide clinical legal education practitioners with evidence-based insights into the challenges and opportunities afforded by using digital technologies to deliver clinical legal education. It adopts a case study approach by reflecting on the Open Justice Centre’s four-year experience of experimenting with online technologies to provide meaningful and socially useful legal pro bono projects for students studying a credit bearing undergraduate law module. It will analyse how a number of different types of pro bono activity were translated into an online environment, identify common obstacles and posit possible solutions. In doing so, this paper aims to provide a timely contribution to the literature on clinical legal education and offer a means to support colleagues in law schools in the UK and internationally, who are grappling with the challenges presented by taking clinical legal education online.

The Destabilizing Materiality of the Autograph for Blake, Coleridge, and Tighe

This chapter looks at three poets—William Blake, Samuel Taylor Coleridge, and Mary Tighe—who integrate print and manuscript technologies to produce a new materiality in autographic texts that capture their idiolectic voices. They deploy scribal practices in print media to inscribe individuality, autographing the print copies of their works to transform them from uniform products into objects embodying vital processes. Illuminated printing enables Blake to make each copy of his texts a unique graphic object, most expansively in Songs of Innocence and of Experience. Coleridge’s habitual revision of his printed texts destabilizes each version to re-engage the immediacy of poetic vision through a vocalized experience, most dramatically in ‘The Rime of the Ancient Mariner’. Tighe initially rejects print publication for the affective palpability of scribal publication but then inscribes privately printed copies of Psyche; or, the Legend of Love to specific members of her coterie, a process her coterie continues after Tighe dies. All three explore the implications of being bound in bookish or human form in their poems even as they use the materiality of their autographic texts to reconfigure a print publication system that might otherwise lock them or their texts into fixed identities or commodities.

Art and mythology of William Blake in the context of the "Dead Man" by Jim Jarmush.

The presented article is devoted to the study of the image of creativity and mythology of William Blake in the film by J. Jarmusch "Dead Man". The author has carried out a detailed philosophical and art analysis of the film "Dead Man" and graphic works by William Blake, in particular, the series of engravings “Heads of Ghosts”, engravings “Ghost of the Flea” and “The Lost Boy”. The author also examined poetry and mythology in the work of William Blake based on the material of the works "The Marriage of Hell and Eden" (1973), "Songs of Innocence" (1789) and "Songs of Experience" (1973). Having conducted a comparative analysis of the works of W. Blake and the film by J. Jarmusch, the author revealed the similarities among the characters, mythology, plot and attitude in the movie "Dead" by J. Jarmusch and the works of W. Blake, interpreted the reason for citing the works of W. Blake in the movie "Dead Man" ... As a result, a conclusion was made about the commonality of the worldview attitudes of the work of J. Jarmusch "Dead Man" and the work of W. Blake. The article highlights the common features of the investigated works and the film: quotations from works of other authors, acquiring new meaning (citing the works of John Milton and Dante W. Blake correlates with the quotation of W. Blake in the film "Dead Man"); initiation motive; wandering motive; the idea of the wrongness of the world and the dualism of the universe. The author notes that the main artistic ideas of the works under consideration by William Blake are reflected in the film "Dead Man" by J. Jarmusch. In synthesis, they acquire a new meaning – the path of the soul to salvation through the overcoming of false ideas, vices, knowledge of the truth. This work uses the method of philosophical and art history analysis, developed by the Siberian art history school.