By S. Foster Damon
William Blake, poet, artist, and mystic, created an enormous multidimensional universe via his verse and paintings. Spun from a material of symbolism and populated by way of a number of complicated characters, Blake's entire global has supplied unending suggestion to next generations. For the reader of Blake, historical past wisdom of his symbolism is a need. during this quantity, first released in 1965, S. Foster Damon, father of contemporary Blake experiences and a professor at Brown college till his demise, has assembled all references to specific symbols or points of Blake's paintings and lifestyles, in order that readers can see the complete spectrum of Blake's concept on various subject matters.
For this version of S. Foster Damon's vintage reference paintings, Morris Eaves has written an up-to-date annotated bibliography and a brand new foreword, incorporated the following together with his unique 1988 index.
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Extra info for A Blake Dictionary: The Ideas and Symbols of William Blake
44 As is clear, this mirrors the arguments for free access that I explored above: if authors are not required to sell their work, why can’t they give it away? In parallel: if authors are not required to sell their work, why do they require all of the protections of copyright and speciﬁcally those protections that exist for ﬁnancial beneﬁt? Stallman’s reading of the history of copyright is not ubiquitously held and it is not the sole reason why advocates argue for (and sceptics argue against) the lowering of permission barriers to scholarly research, but it does form one cornerstone in the movement’s history.
This important point aside, there are also, though, both megapublishers who operate in the humanities sphere and ongoing campaigns of top-loading acquisitions of smaller publishers by large conglomerates that span the humanities and the sciences (take for instance the fact that Palgrave Macmillan is a sister company of Nature publishing group). One of these latter types seems to be Taylor & Francis/Routledge. This publisher, known to humanities scholars for its range of journals and book publications, has, in recent times, begun seeking the views of its scholar-base on open access.
7m adjusted operating proﬁt;80 38% of this came from Informa’s publishing revenue, including their humanities division, which was, in the words of their annual shareholder report, ‘dominated by subscription assets with high renewal rates, where customers generally pay us twelve months in advance. 31 on Tue Jan 26 02:28:22 GMT 2016. bid=CBO9781316161012 Cambridge Books Online © Cambridge University Press, 2016 36 Introduction, or why open access? 82 The list goes on. 86 This never came to long-term, mass-scale fruition, possibly because of fears for ongoing revenue.
A Blake Dictionary: The Ideas and Symbols of William Blake by S. Foster Damon