死后的布莱克:凯瑟琳·布莱克、c·h·塔瑟姆和弗雷德里克·塔瑟姆在布莱克死后的角色

Q3 Arts and Humanities
Joseph Viscomi
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引用次数: 1

摘要

下面这篇文章虽然很长,很详细,由13个部分组成,但只关注7个基本问题:布莱克的哪些照明作品是在他死后创作的?谁制作的?它们是何时何地生产的?它们是如何销售的?为什么这么多《纯真之歌》和《经验之歌》的遗作似乎不完整?为什么死后的生产停止了?要回答这些问题,需要仔细而彻底地研究由遗书提供的书目证据,以及关于凯瑟琳·布莱克、查尔斯·希斯科特·塔瑟姆和他的儿子弗雷德里克·塔瑟姆的新传记事实。它还需要追踪1827年至1832年间用于印刷布莱克版画的滚动印刷机的可能位置和运动。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Posthumous Blake: The Roles of Catherine Blake, C. H. Tatham, and Frederick Tatham in Blake’s Afterlife
The following essay, though long, detailed, and comprising thirteen parts, focuses on just seven basic questions: Which of Blake’s illuminated works were produced after his death? Who produced them? Where and when were they produced? How were they sold? Why do so many posthumous copies of Songs of Innocence and of Experience seem incomplete? Why did posthumous production stop? Answering these questions requires examining closely and thoroughly the bibliographical evidence provided by posthumous prints as well as new biographical facts about Catherine Blake, Charles Heathcote Tatham, and his son Frederick Tatham. It also requires tracing the probable location and movement between 1827 and 1832 of the rolling press used to print Blake’s plates.
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来源期刊
Blake - An Illustrated Quarterly
Blake - An Illustrated Quarterly Arts and Humanities-Literature and Literary Theory
CiteScore
0.10
自引率
0.00%
发文量
0
期刊介绍: Blake/An Illustrated Quarterly was born as the Blake Newsletter on a mimeograph machine at the University of California, Berkeley in 1967. Edited by Morton D. Paley, the first issue ran to nine pages, was available for a yearly subscription rate of two dollars for four issues, and included the fateful words, "As far as editorial policy is concerned, I think the Newsletter should be just that—not an incipient journal." The production office of the Newsletter relocated to the University of New Mexico when Morris Eaves became co-editor in 1970, and then moved with him in 1986 to its present home at the University of Rochester.
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