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Gordon Teskey

    Norton Critical Editions: Paradise Lost. Das verlorene Paradies, englische Ausgabe
    Paradise Lost
    Delirious Milton
    • Paradise Lost

      • 316pages
      • 12 heures de lecture

      One of the oldest and most powerful stories of all time—God and Satan, Adam and Eve—retold in stunning graphic novel form by the dark and beautiful imagery of Pablo Auladell. Milton’s epic poem charts humanity’s fall from grace and the origin of the struggle between God and Satan, good and evil, life and death. In the aftermath of the Angels’ devastating defeat in the war for Heaven, Satan determines to seek his revenge. Meanwhile, Adam and Eve have newly awakened in the Garden of Eden . . . First published nearly three hundred and fifty years ago, Paradise Lost has now been reimagined by the Spanish artist Pablo Auladell. His astonishing artwork portrays the complexity and tragedy of one of the great stories of all time. His bleak and surprising imagery captures the lyricism of Milton’s original for a new audience—and is a masterful tribute to a literary classic.

      Paradise Lost2020
      4,3
    • Delirious Milton

      The Fate of the Poet in Modernity

      • 224pages
      • 8 heures de lecture

      Composed after the collapse of his political hopes, Milton's great poems Paradise Lost , Paradise Regained , and Samson Agonistes are an effort to understand what it means to be a poet on the threshold of a post-theological world. The argument of Delirious Milton , inspired in part by the architectural theorist Rem Koolhaas's Delirious New York , is that Milton's creative power is drawn from a rift at the center of his consciousness over the question of creation itself. This rift forces the poet to oscillate deliriously between two incompatible perspectives, at once affirming and denying the presence of spirit in what he creates. From one perspective the act of creation is centered in God and the purpose of art is to imitate and praise the Creator. From the other perspective the act of creation is centered in the human, in the built environment of the modern world. The oscillation itself, continually affirming and negating the presence of spirit, of a force beyond the human, is what Gordon Teskey means by delirium. He concludes that the modern artist, far from being characterized by what Benjamin (after Baudelaire) called "loss of the aura," is invested, as never before, with a shamanistic spiritual power that is mediated through art.

      Delirious Milton2009
      5,0