JOURNAL ARTICLE

"Humanity knows not of Sex": William Blake's Trans Futurity.

  • Published In: Studies in Romanticism, 2024, v. 63, n. 4. P. 529 1 of 3

  • Database: Academic Search Ultimate 2 of 3

  • Authored By: Kim, Joey S. 3 of 3

Abstract

This essay proposes the trans potential of William Blake's composite art, focusing on his visuality of text and bodies in The Marriage of Heaven and Hell and Jerusalem: The Emanation of the Giant Albion. Blake's bodies do not fit into human-made systems of classification. He disorients life/death, human/animal, human/spirit, and male/female divisions through fluid representations of gender and corporeality. In the Marriage , Blake shifts between roman and cursive handwriting to signify transition. In Jerusalem , he imagines a non-exclusionary future where everyone is assured freedom and toleration, regardless of class, sex, gender, race, ethnicity, or species. [ABSTRACT FROM AUTHOR]

Additional Information

  • Source:Studies in Romanticism. 2024/12, Vol. 63, Issue 4, p529
  • Document Type:Article
  • Subject Area:Literature and Writing
  • Publication Date:2024
  • ISSN:0039-3762
  • DOI:10.1353/srm.2024.a951772
  • Accession Number:183254921
  • Copyright Statement:Copyright of Studies in Romanticism is the property of Johns Hopkins University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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