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Blake's 'Jerusalem' as visionary theatre [electronic resource] : entering the divine body / by Suzanne M. Sklar.
Sklar, Susanne Marie, 1958-
Oxford : Oxford University Press, 2011.
1 online resource (337 p.)
Blake, William 1757-1827
Criticism and interpretation
Blake, William 1757-1827
Visions in literature
Oxford theological monographs.
[More in this series]
Susanne Sklar engages with the interpretive challenges of William Blake's illuminated epic poem Jerusalem by considering it as a piece of visionary theatre - an imaginative performance in which characters, settings, and imagery are not confined by mundane space and time - allowing readers to find coherence within its complexities.
Description based upon print version of record.
Includes bibliographical references and index.
Source of description
Description based on print version record.
Cover; Contents; Plates; Abbreviations; Introduction; About this Book; Some Important Terms; The Critical Background; The Texts; Part I: Perspectives, Characters, Settings; 1. Visionary Theatre-Apocalyptic Images; Jerusalem and the Book of Revelation; Alchemical Visionary Theatre; Sublime Allegory-and Visionary Theatre; Entering Apocalyptic Images; 2. Dramatis Personae; Angelmorphic Characters: The One and the Many; The Characters; 3. Jerusalem: Her Character and Context; Like Christ; The Harlot, the Bride; The Woman Clothed with the Sun; Joanna Southcott, A Woman Clothed with the Sun
In Blake's Poem4. Jerusalem's Jesus; Nature and Function; Jesus's First Appearances; Visualizing Jesus: Young's Night Thoughts; Coinherent Contraries; Beyond Law: Blake and St Paul; Erotic Spirituality; The Birth of Jesus; Healing Ministry: Raising Albion; Beyond the Trinity; Transfiguring Crucifixion; Creative Apocalypse; 5. Shifting Settings-Building Projects; Shifting Settings; Building Projects; Druid Structures; Golgonooza; Jerusalem: The Transfiguring City; Part II: The Commentary; Reading the Poem; 1. 'To the Public'-Albion's Fall; Overture: The Preface (1-4)
Opening Scene: Albion Rejects the Divine Song (4-5)Scene Two: Los and the Spectre (6:1-11:7); Scene Three: In the Spaces of Erin (11:8-14:34); Scene Four: Sculpting World Views (15-17); Scene Five: Hand and Hyle Intensify Fallenness (18-19); Scene Six: Beulah and the Veil (19:40-25:17); Interval (26); Plate 26; 2. 'To the Jews'-Rescue Attempts; The Preface (27); Scene One: Albion's Fall: The Refugee Report (28-30); Scene Two: The Triumph of Vala (31:2-34:35); Scene Three: The Divisions of Reuben (34:36-36:42); Scene Four: Los and the Eternals (36:43-41:31)
Scene Five: The Rescue Attempt (42-6)Scene Six: Cycles of Violence (47:1-48:12); Scene Seven: Redemptive Erin, A Terrible Separation (48:13-50:30); Interval (51); Plate 51; 3. 'To the Deists'-Calamities Amplify; The Preface (52); Scene One: Intensified Fall, Los Infected! (53:1-58:20); Scene Two: Urizen's Temple (58:21-59:21); Scene Three: In Cathedron's Looms (59:22-62:42); Scene Four: Hermaphrodite Spectre Rising (63:1-65:4); Scene Five: Naked Daughters, War, Disease (65:5-69:5); Scene Six: Beulah-Ulro/Heavenly Canaan (69:6-71:55); Scene Seven: Fallibly Building (71:56-75:27); Excursus
Interval (76)Plate 76-Transfiguring Crucifixion; 4. 'To the Christians'-The Great Awakening; The Preface (77); Scene One: Jerusalem Before the Furnaces (78:1-80:36); Scene Two: Weaving False Bodies (80:37-82:79); Scene Three: Los on his Watch (82:80-86:49); Scene Four: Banal Bickering (86:50-88:54); Scene Five: Apocalyptic Transformation (88:55-93:27); Scene Six: Albion Awakens (94-9); Eternal Interval (100); Curtain Call (Plate 100); Encore: Into Eternity; Various Eternities; Character Synchronisms; Synchronic Images; From Ulro to Eden; In Conclusion; Bibliography; Index; A; B; C; D; E; F; G
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Blake's 'Jerusalem' as visionary theatre : entering the divine body / Suzanne M. Sklar.