1. How is the Romantic notion of the Sublime reflected in the texts under consideration in this Romanticism reader? Discuss one or two examples from Blake's Songs of Innocence and Songs of Experience.
2. How do Blake and Rousseau's ideas align and differ (themes to consider are slavery, religion and education)?
2. How do Blake and Rousseau's ideas align and differ (themes to consider are slavery, religion and education)?
3. See what you can find out anything about what really happened at the Villa Diodati that fateful summer in 1816...
4. How many fictional accounts (film and other narrative media) can you find about that? Provide some useful links, including Youtube clips (hint: for a start try Ken Russel Gothic on Youtube).
5. Discuss the links between the Villa Diodati "brat-pack" and the birth of Gothic as a modern genre with reference to specific texts by the authors who gathered there and subsequent texts (e.g. The Vampire >> Dracula, etc).
7. How does Frankenstein a) reference the Bible, b) foreshadow the Death of God and c) juggle genres as well as narrative points of view in its storytelling?
4. How many fictional accounts (film and other narrative media) can you find about that? Provide some useful links, including Youtube clips (hint: for a start try Ken Russel Gothic on Youtube).
5. Discuss the links between the Villa Diodati "brat-pack" and the birth of Gothic as a modern genre with reference to specific texts by the authors who gathered there and subsequent texts (e.g. The Vampire >> Dracula, etc).
7. How does Frankenstein a) reference the Bible, b) foreshadow the Death of God and c) juggle genres as well as narrative points of view in its storytelling?
3. Villa Diodati, 1816.
ReplyDeleteAs storms rage outside, Mary Shelley, Percy Shelley, Lord Byron, and Mary’s step-sister Claire Clairmont, are caged in at Villa Diodati, engaged in rapturous discussion. They discuss natural philosophy, and as lightning flashes outside the discussion moves to that electricity and the spark of life… This is one scene that Frayling (2017) builds of Villa Diodati, based on the diaries and letters of this little band of friends. To pass time in the summer-less holiday the group were writing and sharing their stories. From this emerged (supposedly) a challenge to creating a wonderful, terrifying ghost story, “to enjoy together the tempestuous loveliness of terror, the aesthetic thrill of the ‘sublime’ as it was known” (Frayling, p.17). Amongst others, the result of this challenge was the creation of Mary Shelley’s Frankenstein, to be published anonymously in 1818.
Frayling, C. (2017). Frankenstein the first two hundred years. London, England: New Reel Press.
1. The sublime is that which transfixes us and transports us. Powerful, irresistible, sublimity is in the statement that leaves us in awe (Pateman, 2004). Pathos, a surge of powerful emotion, paired with technically correct language, drives the sublime (Pateman, 2004). Paradoxically, a great concentration of sublimity sparks terror. Terrifying to us is that which is infinite or seemingly so (Pateman)- the vastness of space, its uncontrollable nature, the sense of the unknown. As such, the sublime can be found in that which is great in magnitude, in that which is unfinished, in that which is extremely difficult, and colours which are depressing. Thus, the sublime can operate here in two levels: the emotive, powerfully written, and that which inspires terror.
ReplyDeleteUsing this conceptualisation of the sublime, we can locate sublimity in Blake’s texts. The terrifying sublime is evident in The Little Boy Lost (Blake, 1794). A child wandering through the night, alone and afraid, evokes a sense of infinity. There is a vastness to night time and the darkness it brings, a vastness to the forest in which the child wanders, because nature is largely uncontrollable to us, and a vastness to the act of wandering. The terror is especially located in the idea of wandering and wandering but never being found. Or, as in this case, wandering and wandering and never finding, “The night was dark no father was there & the child was wet with dew.”
If we discuss the sublime in that which is driven by wild, intense emotion, I think this can be found in The Chimney Sweeper. After having a dream of an angel setting children free from their coffins and into the realm of heaven, a chimney sweeper is inspired to work hard at his job because he is sure that hard work will get him into heaven. Putting aside that it’s a horrifying mentality (my exploitation? It’s fine! I’ll be rewarded when I’m dead), I would argue that the sublime is in its emotive optimism and sheer hope,
“And so Tom awoke and we rose in the dark
And got with our bags & our brushes to work.
Tho' the morning was cold, Tom was happy & warm.
So if all do their duty, they need not fear harm.”
Blake, W. (1972; 1794). Songs of innocence and experience with an introduction and commentary by Sir Geoffrey Keynes. London, England: Oxford.
Pateman, T. (2004). ‘The Sublime’ in Key Concepts: A guide to aesthetics, Criticism, and the arts in education, pp. 169-171. London: Falmer Press.
3.
ReplyDeleteThe summer of 1816 sparked the creation of a bet between five friends Percy Bysshe Shelley, Lord Byron, John Polidori, Mary Godwin (to become Mary Shelley) and her step-sister Claire Clairmont. A bet that led to the famous novel Frankenstein by Mary Shelley and short story The Vampyre by John Polidori, which would go on to heavily influence Dracula by Bram Stoker.
The awful weather they experienced during their holiday in Lake Geneva, led them to stay indoors most of the time in Lord Byron’s leased Villa Diodati. Here they had many varied discussions on scientific and philosophical theories, as well as the sharing of ghost stories.These discussions, encouraged by the dark storm outside, led to Lord Byron contesting his friends to see who could write the best ghost story.
Mary Shelley recounts in the preface to her 1831 published copy of Frankenstein, the words that are now embedded in history, “‘We will each write a ghost story,’ said Lord Byron; and his proposition was acceded to.” (p.8).
Buzwell, G. (2014). Mary Shelley, Frankenstein and the Villa Diodati. Retrieved May 10, 2018 from https://www.bl.uk/romantics-and-victorians/articles/mary-shelley-frankenstein-and-the-villa-diodati#
History. (2018). Frankenstein Published. Retrieved May 10, 2018 from https://www.history.com/this-day-in-history/frankenstein-published
Shelley, M. (1831). Frankenstein, or The Modern Prometheus. London, England: Colburn and Bentley.
I appreciate that you have done your research but have managed to avoid over explaining the answer. Clear and easy to understand well done!!
Delete4.
ReplyDelete‘Gothic’ (1986) Ken Russell.
https://www.youtube.com/watch?v=GwfBY2_cXMo
This film fully embodies the horror genre. Drug induced games are played and ghost stories are told. It takes the participants down dark paths, of their own personal horrors and turns into a evening filled with madness. The tagline from the film is: “Conjure up your deepest, darkest fear... now call that fear to life.” With Timothy Spall, Natasha Richardson, Gabriel Byrne and Julian Sands.
‘Rowing with the Wind’ (1988) Gonzalo Suárez https://www.youtube.com/watch?v=zgQwca6QNg0
Original title is ‘Remando al viento’. For some reason, the excerpt of this film, shows a summer of beautiful weather, despite resources everywhere describing and reporting the absolute opposite. This film explores the reality Frankenstein’s creature takes in Mary Shelley’s mind over six years, believing the tragedy that occurs in her life is linked to her imagination. Hugh Grant plays Lord Byron, with Elizabeth Hurley as Mary Shelley, in this film labelled as a drama, romance, horror and mystery.
Haunted Summer’ (1988) Ivan Passer http://www.dailymotion.com/video/x54yauq
This is a another fictionalised version of the summer of 1816. The summer residents of Villa Diodati get wrapped up in mind games, manipulations, drugs and sex, leading to their famous creations. Another apparently beautiful summer with one stormy evening in this romantic drama, with Philip Anglim, Laura Dern and Alice Krige.
TV Movie ‘Frankenstein and the Vampyre: A Dark and Stormy Night’ (2014) Philip Smith
https://www.bbc.co.uk/programmes/p029yzv8
This is a dramatised documentary that explores that summer evening in 1816. Partly fictionalised with the dramatisation. Featuring many different experts, manuscripts and archives from the British Library, research from letters, journals and diary entries from the famous participants from that night. It also features comments from gothic, horror and science fiction writers, including Neil Gaiman and Margaret Atwood.
7. One of the references to the Bible in Frankenstein is in the creation of the monster. Victor Frankenstein stitches together a creature which looks like a beautiful man - proportional limbs, pearly white teeth, and lustrous black hair (Shelley, 1831). He then animates this body, bringing it to life. This mirrors the Biblical account of creation where God creates man in his image, “And God said, Let us make man in our image, after our likeness” (Genesis, 1.10). But where God then gave man dominion over other living creatures, Frankenstein abandons his creature to die alone.
ReplyDeleteUnfortunately for Frankenstein, the creature does not die. He instead lives a lonely and bitter life. He then demands a from Frankenstein a female creature, a mate to spend his life with. This desire is man-like and is also one set out in the Bible, “It is not good that the man should be alone” (Genesis, 2. 18). But, where woman in the Bible is created physically from man, the female creature can only be made again through Frankenstein’s ghastly process - collecting corpses and stitching them together.
In this ability, The Death of God is foreshadowed because it reflects the death of divine authority. What was previously considered to be in God’s hands is brought into human domain through science. However, Frankenstein is concerned with his hubris, only realising it as hubris after he is successful. Perhaps then he is still faithful to God because his morality is still rooted in the ideology spread by religion, he thinks that he should not have strayed into this territory.
It is possible to categorise Frankenstein in several genres. At its core, it fits into the genre of horror, which was its intention to create. As Shelley introduced the novel in its 1831 edition, she wanted to create a story that would, “speak to the mysterious fears of our nature and awaken thrilling horror- one to make the reader look round, to curdle the blood, and quicken the beatings of the heart” (Shelley, 1831, p. 8). It contains aspects of Romanticism in its setting, particularly in its notion of sublimity in nature - the dangerous Arctic sea where Frankenstein relays his tale to the captain, the beautiful but inhospitable snowy mountains where the creature resides (Botting, 2005). And, the genre of the Gothic is relayed in its fragmented nature, the letters and changing perspectives from which the tale is told, representing the complexity inherent to the Gothic, as well as the insertion of occasional looming ruins and graveyards that remind the reader of Frankenstein’s horrific actions (Botting). All in all, the novel is fragmented yet stitched together, working as a cohesive whole, much like the monster it created (Botting).
Botting, F. (2005). Gothic (3rd ed.). London: Routledge
Shelley, M. (1831). Frankenstein (Penguin Reprint, Deluxe edition ed.). New York, NY: Penguin Books.
2.
ReplyDeleteRousseau and Blake were no doubt both radical thinkers in relation to slavery and religion.
Regarding Religion:
Blake’s works express his concerns with the souls struggle to free itself from organised religion and reason. In his poem ‘The Garden of Love’ from ‘Songs of Experience’ (1794), Blake writes “I went to the Garden of Love…and I saw it was filled with graves, and tomb-stones where flowers should be (l. 1, 7 & 8)”. This is Blake deploring religion, essentially saying the Church doesn’t know how to look after the land that has given us life, building a church in place of what was once a perfect example of nature's love and beauty. He is symbolic in this poem as well. What used to be a place of innocence; “where I used to play on the green” (l.4), that was filled with flowers, which to Blake meant love, was now repressed by “Priests in black gowns (l.9)”. Gardener (2013) says “Blake has created a new association of fear and misgiving at the mention of the garden and the chapel”. Blake’s intentions were to show how earth is oppressed by religion as a system.
Wokler (2001), states that within ‘The Social Contract’ (1762), “Rousseau distinguishes three main types of religious belief in its social dimension: religion of the man, religion of the citizen, and religion of the priest”. The religion of man, which he admires but suggests that it might hurt society as it leads individuals to only be interested in spiritual happiness and heavenly acceptance. He argues that to have a stronger and safer society, there is a need for people who will fight for collective happiness. The religion of the citizen is the official religion of the state that teaches respect for law and patriotism, but he believed this would corrupt religion by replacing sincere worship with systematic approaches. With the religion of the priest, Rousseau associates with the Catholic Church, this being the kind he condemns most forcefully. Though he states that people should be free to worship and follow whatever religion they want, he presses that these religions shouldn’t become the concerns of the public and suggests a merge of “the religion of man” and “the religion of the citizen”.
Though they are both skeptical of organised systems coming from religion, Blake and Rousseau’s takes differ towards ideas of institutionalised religion, which is seen within the different angles they take in their writings.
Regarding Slavery:
In ‘The Social Contract’ (1762), Rousseau states that “the right of slavery is null and void, not only as being illegitimate, but also because it is absurd and meaningless.” (1.4.14) He goes on to say that the words ‘right’ and ‘slave’ contradict each other, therefore meaning he doesn’t believe in slavery.
Blake focuses more on the experiences of slavery, having experience the realities of poverty himself. Through ‘The Chimney Sweeper’ in his collection ‘Songs of Experience’ (1794), Blake indirectly references slavery as he writes of children being chimney sweepers, “and my father sold me while yet my tongue, Could scarcely cry weep weep weep weep. So your chimneys I sweep & in soot I sleep.” (l.2-4). Gardener (2013) says “the children in Innocence neither seek or are granted freedom. They do not see adult control as cruel” (Gardener, 2013), emphasising how Blake believes their society has already failed them; as a system which has led people to believe they are free, but in reality are living in the chains of oppression. This is a different path from Rousseau, who focuses on a more general discussion of where society might fail.
Gardener, S. (2013). Blake’s Innocence and Experience retraced. London, England; Bloomsbury.
Wokler, R. (2001). Rousseau: A Very Short Introduction. Retrieved from http://doi.org/10.1093/actrade/9780192801982.001.0001
2. How do Blake and Rousseau's ideas align and differ (themes to consider are slavery, religion and education)?
ReplyDeleteBlakes songs of innocence all differ in ways but have a large religious influence. We also see many stories with children and their parents, both biological and god. In the chimney sweeper we see slavery and death. "That thousands of sweepers Dick, Joe, Ned & Jack Were all of them lock'd up in coffins of black, And by came an Angel who had a bright key, And he open'd the coffins & set them all free" It could be that an angel released their spirits to heaven, or that they were set free from a life of slavery. In little boy lost/Lisst boy found it is about a boy finding his way to god.
In Blakes Holy Thursday it is evident that he is offended and appalled by the apparent poverty in a land so fruitful with wealth. As in the Chimney sweeper we see Blake call out more child slavery and poverty, its is evident he is against it.
Rousseau’s words are confusing as he speaks of how it one could be born free but becomes a slave, these words that he speaks leads one to believe that he is against slavery, but he continues to speak of how once a child is able to look after himself his family has no obligation to look after them, as they must look after themselves. It reminds me of the way many people still think today which is if you are self made, why look after others.
"To say that a man gives himself gratuitously, is to say what is absurd and inconceivable; such an act is null and illegitimate" Rousseau speaks of how man is not kind, whereas Blake discusses how god is all and once found peace will come.
6.
ReplyDeleteFrankenstein (1818) by Mary Shelley, is a novel that in its purest form addresses the questions raised by humanity; what is our purpose? She looked to not only the terrors of science and the eras of romanticism and enlightenment, but also to the Bible, referencing the Christian religion.
The first biblical reference in Frankenstein are the parallels between the creatures creation, or awakening, to Adam’s creation. Each were the first of their kind (though the creature was the last of his kind too). The creature was created from limbs of humans in Victor Frankenstein’s hands, where Adam was created from dust in God’s ‘hands’ - “Then the Lord God formed a man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being.” (Bible Gateway, 2011). So just as Adam was made in the image of God and made to be ‘good’, I regard Frankenstein’s creature as being made in a human’s image, but only made to be brought to life. This novel shows how science encourages Man to create and be god’s in their own terrible way; “I am your creature. You gave me life. You are my God” (p.45). This connection is also seen in the way both the creature and Adam wish for a partner. The creature says “In this world, every man has a wife and each beast has a mate […] Why must I be alone?” (p.80), where the Book of Genesis says “It is not good for the man to be alone.” (Bible Gateway, 2011).
Another reference I found interesting, brought to light by our lecturer in class, was the parallel between the light Frankenstein mentions in the novel and the light of the beginning in the Book of Genesis in the Bible. Frankenstein says "a stronger light pressed upon my nerves, so that I was obliged to shut my eyes. Darkness then came over me and troubled me, but hardly had I felt this when […] the light poured in upon me again." (p.145). This relates to the line in Genesis 1.3 “And God said, “Let there be light,” and there was light.” (Bible Gateway, 2011).
A third connection to the bible, can be seen with the characters used in the novel. They are clearly Christians - a priest is seen in Justine’s trial, and Frankenstein himself refers to God multiple times. A profound moment is when Frankenstein is speaking about his negative feelings, talking of God’s religion in a negative way, that he is now in hell, “like the great angel who thought he would be God, and who was thrown from Heaven, I, too am now chained down in a never-ending hell.” (p.109).
Frankenstein can also be seen foreshadowing the Death of God. The novel was written in a society and era where science was advancing dramatically and was threatening religions standing, or society's belief in God. Frankenstein was part of the movement, causing men to look to science for more answers to life’s questions. Men, in this novel, are replacing God as creators, essentially saying there is no need for God in a world where man can create life. Though Shelley doesn’t hesitate condemning science alongside this encouragement, we must remember, Victor Frankenstein dies at the hands of his creation.
Continued...
DeleteI really liked the switching narrative measures Shelley used in her novel, it flowed extremely well and wasn't difficult to keep up with the changing point of views. I found that it was easy to get swept up in the point of view, every now and then Shelley would add in a line like “I must pause here.” (p.85), to remind the reader that this story is essentially told through one man. She begins with informal letters from Walton to his sister Margaret as he journeys north and finds Frankenstein, then as he’s telling Frankenstein’s story, the narrative changes to chapters from Victor’s point of view, written with Walton’s pen. It becomes more of an oral storytelling form. Then we get a bit of the creature’s point of view, telling his own story to Frankenstein who tells it to Walton. It made me wonder what the creature really said having had his story told from Frankenstein to Walton, to us, the reader, after all word of mouth isn’t the most reliable way to keep the facts straight.
Bible Gateway. (2011). Genesis, New International Version. Retrieved 30 May, from https://www.biblegateway.com/
Shelley, M. (2018). Frankenstein. New York, NY: Clydesdale Press. Retrieved from https://ebookcentral.proquest.com/lib/AUT/reader.action?docID=5305463&query=
1. How is the Romantic notion of the Sublime reflected in the texts under consideration in this Romanticism reader? Discuss one or two examples from Blake's Songs of Innocence and Songs of Experience.
ReplyDeleteWe see sublime romance throughout Blakes songs of innocence and songs of experience in unexpected ways, for example "He kissed the child & by the hand led and to his mother brought" selflessness and love is shown in this quote taken from the little Boy Found.
Another example within Blake's writings are from within his poem Infant Joy. "Pretty joy! Sweet joy but two days old. Sweet joy I call thee: Thou dost smile. I sing the while Sweet joy befall thee." Romanticism does not have to be sexual as many people from this generation think, it is also peaceful, kind, sweet and joyous. " I sing the while Sweet joy befall thee." Is my favorite line from Infant joy due to how it speaks of happiness. Infant joy sounds like pure happiness when first reading it, due to the illustration that it is written on we realize it has much deeper meaning. There is one Unimpregnated womb (shown as a closed bud) and a new born infant. Could this have a deeper meaning of the mother has struggled to conceive and is not feeling the impossibly large new love for her baby?
In the Romanticism, sublime is something from the other world, something that invokes us through it. Sublime is glimpse of the infinite, which inflicts terror upon our psyche and which also, by the same token, is beauty. In The Songs of Innocence and The songs of Experience, this contact with the sublime can be found.
ReplyDeleteIn The Little Boy Lost, “The night was dark no father was there The child was wet with dew. The mire was deep, & the child did weep And away the vapour flew”. In the first stanza, the boy behind walking his father. The boy asks his father to walk slow and then, to say something to figure out where he is. The second stanza, a boy, pure and innocent, is away from his father. The boy comes to contact with nature, notices it and then is terrified of it. The human experience, is therefore affected deeply, by nature and its sublime.
Another example is from The Little Boy Found, “He kissed the child & by the hand led And to his mother brought,”. Where the boy is lost and began to cry. And through a sublime experience emphasised by the kiss and leading by the hand to his mother.
When both examples are looked at together. The boy is lost out with father, and the masculinity represented the Enlightenment values. The boy is then found, by the mother. Femininity represented the nature, the sublime. The movement of Romanticism, sought out to reintroduce of man to nature and its sublimity, which had been suppressed through culture, mainly religion and idealisation of Enlightenment values.
Blake, W. (1972; 1794). Songs of Innocence and Experience with an introduction and commentary by Sir Geoffrey Keynes, London: Oxford
Blake and Rousseau, both were highly intellectuals and were radical thinkers, for their time. But, although they had difference in medium through which they propelled their views forward to the people. They had similar views when issues of slavery and religion were discussed.
ReplyDeleteBlake’s views were against the idea of slavery. The poem of The Chimney Sweeper is where he expressed the way he felt, by in some regards, through his words making the audience feel how and what he felt about the cruelty of slavery. Rousseau believed child and/or man to be free. And that no man should or does possess a right to enslave another man.
Although heavily influenced by religion, Blake showed contempt towards the idea of the church. A example which reflected the way he felt about religion, or specially the church is in poem The Garden of Love.His portrayal of the garden being ruined by the buildings and churches built by the Christian authority which should be filled with flowers and beauty, reflects how the institution of the church affects the religion negatively and leads to its degeneration. Rousseau believed the man on an individual level could follow any religion but, he also had an higher responsibility his fellow humans. And the church, like any institution that puts that thought of itself to be higher or, does not constitute one man equal to the other, should be abolished.
Blake, W. (1972; 1794). Songs of Innocence and Experience with an introduction and commentary by Sir Geoffrey Keynes, London: Oxford
Cole, G.D. (1913). Translation of Jean-Jacques Rousseau’s The Social Contract, 1762
2. How do Blake and Rousseau's ideas align and differ (themes to consider are slavery, religion and education)?
ReplyDeleteJean-Jacques Rousseau played a hugely important role in the shift in ideas regarding the treatment and upbringing of young children in western society (Boone, n.d.). Born 1712 in Geneva, childhood education at the time was just about always provided by a child’s parent or caregiver. The extent of this education, particularly in the lower class usually lasted up until the child was considered skilled enough to work. The societal norms of the time generally allowed young children to be perceived as cheap and able laborers, with few other uses. Rousseau’s ideas instead suggested that children were born innocent and required shelter from the negative influences of the world surrounding them. In what Rousseau believed to be his most important piece of writing, Emile; he writes of a fictional man, named Emile and his development under what Rousseau considers to be an untainted, incorrupt education. It is through Emile that he conveys his discord of western society’s perspective on children at the time. It is also in Emile that he writes of the innocence of children, insisting that no one is born ill natured, but the effects of living among so many others in society, corrupts children causing them to deviate from their naturally kind and caring nature.
William Blake born 1757 in London (A & E Television Networks, 2017) was much like Jean-Jacques Rousseau in the way that his poetry tended to challenge the ideas and societal norms of the time. He did this by burying his opinions and beliefs into his seemingly simple and juvenile poetry. For example, in his poem The Chimney Sweeper, stanza’s such as “And by came an Angel who had a bright key. And he opened the coffins and set them all free.” consists relatively basic rhymes and religious references making the poem seem as if it is, like many other nursery rhymes of the period intended only for a younger audience. However, sentences such as “So your chimneys I sweep and in soot I sleep.” suggest that the intended audience are those who further the industry of chimney sweeping. Through this Blake indirectly shifts some of the responsibility onto the reader with the likely intention of criticizing the treatment of children at the time (Norton, 2014) in a similar manner to Rousseau.
While both Blake and Rousseau took enormous issue in the manner that young children were seen and treated, their ideas did not entirely align. Blake saw the treatment of young chimney sweepers as a harsh injustice and could see that they were in desperate need of attention. This is why he targeted the industry indirectly through his poems, such as The Chimney Sweeper and The Little Black Boy. He hoped that by distributing his poems and illustrations to both the young and the old that he could raise awareness and eventually, either stop or reduce the practise of using young children as slave labour (Norton, 2014). Rousseau’s ideas were more radical. While, he also pursued better conditions for the lower class of children. He wanted a far more radical change at the time… He wanted children to be given an opportunity to grow up in a more natural state, away from religion and other societal influences and believed that even books in some way corrupted children (Welch, 2011). In many ways the two wanted entirely separate results, but both believed that ideas regarding the way children were seen at the time were unjust.
References
DeleteBoone, T. (n.d.). Theorists: Jean-Jacques Rousseau. Retrieved from http://www.representingchildhood.pitt.edu/rousseau.htm
A & E Television Networks. (2017, October 10). William Blake Biography. Retrieved from https://www.biography.com/people/william-blake-9214491
Norton, G. (2014, May 15). William Blake's Chimney Sweeper poems: a close reading. Retrieved from https://www.bl.uk/romantics-and-victorians/articles/william-blakes-chimney-sweeper-poems-a-close-reading
Welch, D. (2011, September). Blake and Rousseau on Children’s Reading, Pleasure, and Imagination. The Johns Hopkins University Press [Baltimore].