The theosophical systems formulated by great poets, such as William Blake and William Butler Yeats, represent a personal idiosyncratic actualization of an ancient repertoire of magical symbols and occult visions. This study wants to focus the attention on the philosophical, mythical, and esoteric syncretism that W. B. Yeats drew from William Blake's symbolical system. A fundamental step of Yeats's deep investigation into the Blakean 'vision' was given by his monumental work, written together with Edwin John Ellis, on Blake's poetic and pictorial production, completed in 1893 with a three-volume edition entitled The Works of William Blake, Poetic, Symbolic, and Critical. This work, published in London by Bernard Quaritch, deeply influenced Yeats's symbolical and imaginary system, determining its subsequent development up to its codification in the volume of A Vision. With WWB, Yeats was able to systematize for the first time his own thought, giving unity to his Weltanschauung and his poetry. Following this hypothesis, I concentrated on Yeats's and Ellis's numerous analyses dedicated to Blake's mythological and symbolical corpus and, in particular, I examined the last chapter of the first volume of the Quaritch edition. This chapter, entitled "The Symbolic System", constitutes an unquestionable link between Yeats the reader and scholar of Blake, and Yeats the poet and follower of Blake.
Th e interview is aimed to refl ect on the elusive nature of theatre and the archive(s) through discussing issues of research, memory, and navigating digital spaces of the archive(s). It does so by considering the work of National University of Ireland Archivist Barry Houlihan, whose career recently has developed across theatre history, archival studies, digital cultures, and history.
"Granito e arcobaleno". Forme e modi della scrittura auto/biografica raccoglie saggi che affrontano questioni che attengono alle relazioni, e ai loro fragili equilibri, tra realtà e finzione, esperienza e memoria, privato e pubblico, autonomia e relazionalità, verità referenziale e verità soggettiva, tra il sé e l’Altro. I contributi chiamano in causa, inoltre, concetti quali lo spazio – sociale, culturale, geopolitico, ma anche retorico – nel quale il soggetto auto/biografico è posizionato; la 'materialità' del corpo che percepisce e interiorizza le immagini, le sensazioni e le esperienze del mondo esterno; l’agentività (agency) e i vincoli linguistici, discorsivi, sociali e culturali cui è sottoposta. Dopo un’apertura teorica, il volume approfondisce singoli casi di studio riconducibili a realtà culturali diverse e, talora, distanti tra loro, per approdare a una riflessione d’artista sull’arte e sulla vita.
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