SAMPLE ALL THE FLAVORS!Increasingly, Vanderbilt instructors are incorporating blogs into their course design. Course Blogs at Vanderbilt is a mash-up of live feeds representing a wide variety of Vanderbilt courses that use blogging to help students reflect on, comment about, and introduce new ideas to course material. Click on the blog title to view the originating course blog. You can also click on the Participating Blogs tab for links to each blog.
ADD YOUR COURSE BLOG TO THIS SITE!Are you administering or participating in a course blog as at Vanderbilt? SEND US THE URL and we'll include it on this site.
Category Archives: Thomas Paine
When William Blake refers to Thomas Paine as ““either a Devil or an Inspired Man” in Watson’s Apology for a Bible, he is further accepting and emphasizing not only the potential genius in Evil itself, but also the necessity of a faith that is between Christianity and Satanism (456). He strongly displays these radical beliefs […] Continue reading
The contrasting levels of power present harmoniously in “Holy Thursday” from Songs of Innocence, like the children, beadles, and God in St. John’s Cathedral, illustrates the exertion of false power Thomas Paine and William Blake’s Moravian beliefs rejected. This civility with which the scene in “Holy Thursday” is conducted with demonstrates the way civility fosters social hierarchies and […] Continue reading
Blake engages with the French revolutionary debates in his “A Song of Liberty.” Thomas Paine, who also engages in those same debates, believes that “There never did, there never will, and there never can, exist a parliament, or any description of men, or any generation of men, in any country, possess of the right or […] Continue reading
Blake’s marginalia deeming Paine “either a Devil or an Inspired Man” (456) is indicative of his admiration for Pain because throughout the works of Blake we see him develop the devil as a character that is calling for inquiry on a system that he is advised to not question. In The Marriage of Heaven and […] Continue reading
Though William Blake is not anti-religious as Thomas Paine is, they both share a similar distaste for the church and state and how they operate (rule) society. In Thomas Paine’s “The Rights of Man Part 1”, he argues against the fallacy of his government: “what is government more than the management of the affairs of […] Continue reading
So far, what we do know of Blake’s beliefs regarding Swedonborg and the Moravian Church in is that Swedonborg is a false proclaimer; that he claims to have realized certain beliefs before others have. “Now hear a plain fact: Swedonborg has not written one new truth:/ Now hear another: he has written all the old […] Continue reading
In his marginal comments to Watson’s An Apology for the Bible, Blake considers Thomas Paine’s secular enlightenment assault on revealed religion to be the work of “either a Devil or an Inspired Man” (456). He also notes that “Paine is a better Christian than the Bishop” (460). For next Wednesday (2/28), write a post that reflects […] Continue reading
In his marginal comments to Watson’s An Apology for the Bible, Blake considers Thomas Paine’s secular enlightenment assault on revealed religion to be the work of “either a Devil or an Inspired Man” (456). He also notes that “Paine is a better Christian than the Bishop” (460). For next Wednesday (10/16), write a post that […] Continue reading
For Edmund Burke, the French Revolution represented an inversion and usurpation of natural order (at the very least a dismantling of the benign illusions thereof), a loss of the restraints and checks on mankind’s more bestial drives. However, for Blake, it was genuinely apocalyptic—in the sense it offered revelation, the casting off of fetters and […] Continue reading
For this particular post, I want to elaborate on Anna’s post from last week. In it, she discusses Blake’s use of Moravian themes in the last Memorable Fancy. Anna’s post can be found here: http://williamblakeandenlightenmentmedia.wordpress.com/2012/02/17/blake-zinzendorf-nuns-et-al/ Anna claims that in this Memorable Fancy, “we see a typical motif of Blake’s work by connecting obedience to restricting […] Continue reading