6 research outputs found
Bestial metamorphoses: Blakeâs variations on trans-human change in Danteâs Hell
William Blakeâs engagement with Dante Alighieriâs Divine Comedy (1824-7) illuminates the convergence of Classical and Christian iconography at the heart of Blakeâs bestiary. Oswald Spengler coined the term âpseudomorphosisâ to âdenote the unwilling conformity of a new and dynamic culture to the forms and formulas of an older cultureâ. Erwin Panofsky took up the concept to investigate divergences in form and content between text and image in the medieval translation of classical literature and visual culture. Against Spenglerâs dramatic take on the fight towards form, and Panofskyâs recuperation of medium divergence in cultural translation, Theodor W. Adorno read pseudomorphosis as a mediumâs imitation of another medium, an uncritical âstage in the process of convergenceâ. Drawing on the iconological schoolâs analysis of the pseudomorphic articulations of cultural transmission, I wish to explore Blakeâs monsters as Christian reinventions of classical mythology. Danteâs emblematic bestiary reinvents monsters from classical literature in a series of transgressions of the boundaries of species. This essay will draw on the debated concept of pseudomorphosis to explore the dialectic tension between assimilation, parody, and disintegration of form in Blakeâs reinvention of Danteâs visions of hell. Classical sculptures used as prototypes of the human ideal are subjected to a series of demonic inversions. Hybrid forms and transformations culminate in the reversible serpent metamorphoses that express the bestial condition of the thieves in Cantos XXIV and XXV of Inferno. The multiplication of images Blake devotes to this case of transhuman change indicates its key place in the interminglings between man and beast in his approach to the Commedia. This chapter explores Blakeâs serpent sequence and the possibilities of metamorphosis as a way of interrogating alternative models of animal human encounter. The frame of punishment suggests that Danteâs bestial metamorphoses represent a series of transgressions of boundaries. However, Blakeâs versions bring to light alternative possibilities in the handling of species, showing coexistence or overlaps, intermediate steps in a continuum, fusion through commingling. Metamorphosis itself changes with acts of translation â between languages, genres, and media