Cfp: Global Blake: Afterlives in Art, Literature and Music<\/p>\n\n\n\n
11-13 January 2022, Online at the University of Lincoln, Lincoln, UK<\/p>\n\n\n\n
Confirmed Keynote Speakers: Luisa Cal\u00e9, Stephen F. Eisenman and Linda Freedman<\/p>\n\n\n\n
In recent years an exciting, new body of work, including Blake, Modernity and Popular Culture <\/em>(2007), Blake 2.0: William Blake in Twentieth-Century Art, Music and Culture <\/em>(2012), William Blake and the Age of Aquarius<\/em> (2017), William Blake and the Myth of America <\/em>(2018), and The Reception of William Blake in Europe<\/em> (2019), has emerged around the posthumous reception of the artist and poet, William Blake. From almost complete obscurity following his death in 1827, Blake has become one of the most important figures in British cultural life. What is less understood, outside certain pockets such as the USA and Japan, is the significance of Blake elsewhere in the world. <\/p>\n\n\n\n Today, Blake’s global presence cannot be underestimated. The aim of this project is to showcase the wide variety of global \u2018Blakes\u2019 (after Morris Eaves’s “On Blakes We Want and Blakes We Don’t”, 1995, and Mike Goode\u2019s \u201cBlakespotting\u201d, 2006) and to provide an overview of the appropriations and rewritings as well as examples, that fall into three categories: art, literature and music. It will examine how Blake’s global audiences have responded to his poetry and art as well as explore what these specific, non-British responses and cultural and social legacies can bring to the study of Blake. What is fascinating about works in art, literature and music inspired by Blake is the fact in which the verbal and the visual in Blake’s art translates into different cultural contexts in unique ways.<\/p>\n\n\n\n Building on The Reception of Blake in the Orient <\/em>(2006) and The Reception of William Blake\u2019s Reception in Europe <\/em>(2019), part of the longstanding and successful series The Reception of British and Irish Authors with Elinor Shaffer as series editor, the organisers welcome proposals for papers (20 minutes) and panels (two or three 20-minute papers). Potential topics, which should focus on either influence or engagement, include but are not limited to the following: \u00b7 Studies of influence in Literature, such as Salman Rushdie, Jorge Luis Borges, Ben Okri, Kenzaburo Oe, Pablo Neruda, Walt Whitman, Bob Dylan, the Beat Generation and the Black Mountain Poets.<\/p>\n\n\n\n \u00b7 Blake in translation<\/p>\n\n\n\n \u00b7 Postcolonial Blake and Blake in world literatures and arts<\/p>\n\n\n\n \u00b7 Blake and the theatre or performance<\/p>\n\n\n\n \u00b7 Afterlives in art and exhibition culture, such as Rockwell Kent, Helen Martins, or Subir Hati.<\/p>\n\n\n\n \u00b7 Blake and graphic novels and comics <\/p>\n\n\n\n \u00b7 Setting Blake to music<\/p>\n\n\n\n \u00b7 Reception by Women, People of Colour and LBGT+<\/p>\n\n\n\n \u00b7 Blake and the digital age<\/p>\n\n\n\n \u00b7 Blake, Nature and nature<\/p>\n\n\n\n \u00b7 Blake, pantheism and soul<\/p>\n\n\n\n \u00b7 Routes of transmission: Blake and the web, social media, publishing houses, publishing histories and facsimiles<\/p>\n\n\n\n \u00b7 Blake and literature written for children<\/p>\n\n\n\n \u00b7 Blake and film, such as Jim Jarmusch, Derek Jarman, Hal Hartley<\/p>\n\n\n\n \u00b7 Blake \u2013 now: Interviews and social media journalism<\/p>\n\n\n\n This conference is on Blake\u2019s significance in and for other cultures and countries. <\/p>\n\n\n\n Abstracts of up to 300 words along with a short biographical note (50 words in the same Word document) should be sent to Sibylle Erle (sibylle.erle@bishopg.ac.uk<\/a>) and Jason Whittaker (jwhittaker@lincoln.ac.uk<\/a>) by 30 September 2021. <\/p>\n","protected":false},"excerpt":{"rendered":" Cfp: Global Blake: Afterlives in Art, Literature and Music 11-13 January 2022, Online at the University of Lincoln, Lincoln, UK Confirmed Keynote Speakers: Luisa Cal\u00e9, Stephen F. Eisenman and Linda Freedman In recent… Read more »<\/a><\/p>\n","protected":false},"author":9,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":""},"categories":[14,8],"tags":[],"_links":{"self":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3921"}],"collection":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3921"}],"version-history":[{"count":1,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3921\/revisions"}],"predecessor-version":[{"id":3922,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3921\/revisions\/3922"}],"wp:attachment":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3921"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3921"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3921"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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