Shadowing Practice: The Art World Couldn't Understand William Blake - Learn English Speaking with Video
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This is a coin sorter and it's a useful tool to help me explain why certain works of art become classics,
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get taught in schools, live on in the culture, while so many others just disappear into oblivion.
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In order to achieve that level of prestige, it's not always enough for creative work to be beautiful or thought -provoking.
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It also has to fit into one of a handful of accepted categories.
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Categories like painting, poetry, the novel, or the film.
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When a work of art drops into one of these channels it enters a whole ecosystem of commercial, critical, and scholarly attention.
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Institutions that can promote it, consecrate it, and preserve it.
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You can think of this whole coin sorter as that ecosystem.
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All the institutions that comprise it have for a very long time been organized to classify work in this way.
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And when something comes along that can't be classified, well, the ecosystem has a hard time assimilating or even seeing it.
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And left on the outside, its chances of long -term survival are slim.
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This is a predicament that unclassifiable artists have faced for centuries.
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And for centuries, so many of them have found solace and inspiration in the radical visionary work of William Blake,
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the patron saint of unclassifiable artists.
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Here, take a look at this.
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How would you categorize this from Blake's book
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Songs of Innocence?
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Is it poetry?
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Is it illustration?
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Well, there's a poem here, a short one, you can see, but it's embedded in this gorgeous design,
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in the curving spiky stem of this evocative red flower.
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Despite what you might expect, this imagery is not a depiction of the subject of the poem.
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Not really.
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The poem makes no mention of a flower.
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Each of the two art forms have their own aesthetic and symbolic integrity, neither one subordinate to the other.
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And yet, when you put them together like this, their interaction, their dialogue, creates something new.
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What you're seeing here, these are not paintings.
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They're prints of engravings from Blake's illuminated books, which he designed, wrote, etched,
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colored, and printed himself using a technique that he invented.
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These extraordinary books are works of art that mix and synthesize categories.
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And as a result, the art world of the late 17 and early 1800s didn't really know what to make of them.
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And Blake never sold more than a handful.
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At that time, the ecosystem that we've been talking about was in the process of forming and hardening.
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The key event in England was the founding of the Royal Academy of Arts in 1768 when Blake was 11 years old.
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The Royal Academy was one of several similar institutions springing up across Europe in this period, institutions that elevated the status of the fine arts
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while also wielding their power to help define the standards by which art was judged.
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The Academy in England trained students to be obedient to its values and rewarded
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that obedience at their annual exhibitions where a good placement on the wall could make an artist's reputation
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and create a demand from private clients.
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In turn, these exhibitions, which were popular events, shaped the taste of collectors, patrons, and the public, dramatically expanding the commercial market for artworks.
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After apprenticing as an engraver, a 21 -year -old
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Blake entered the Royal Academy as a student in 1779, but quickly found himself at odds with its teaching,
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especially the aesthetic philosophy of its first president, Sir Joshua Reynolds.
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Blake despised Reynolds' emphasis on generalizing and idealizing nature
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and hated his reverence for Venetian and Flemish -style oil painting with its soft tonal variations and blurred contours.
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Blake believed that art should come from within,
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from imaginative vision, and he preferred the strong lines and distinct forms of artists like Raphael and Durr.
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Blake just didn't fit at the Academy.
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By refusing to work in oils, his paintings were classed as watercolors, considered a minor medium.
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He was primarily regarded as an engraver anyway, which the Academy treated as an even lesser art, but he didn't fit there either.
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As Eileen Ward points out, engravers were valued to the extent that they approximated the effects of the works they copied.
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Blake could do that, he earned a living doing that, but his creative focus was on his own original designs, and that was very uncommon.
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What's more, many of those designs incorporated the entirely different art form of poetry.
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There was simply no category that could contain him.
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His choice, Morris Eaves writes, to work as a maker of words, maker of images, and crossbreeder of both,
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amounted to a decision to live in incommensurable neighborhoods of meaning.
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He swam against the current of modern human understanding, whose bedrock is the principle of specialization.
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Why was Blake like this?
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Why did he resist, at the cost of money and recognition, that trend towards specialization?
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Well, I think the answer could be found in possibly his greatest work ever, his engravings of the Book of Job.
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Here, check this out.
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So this series includes 22 engraved illustrations like this, based on earlier watercolors that
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Blake made for a patron.
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In the engravings, however, you can see
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that he added these ornate borders full of symbolic imagery and handwritten quotes from the Bible.
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His blending of text and image, his mixing of media, it's more than a stylistic choice.
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It's a thematic one.
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You see, Blake believed that the fall of man, the source of human suffering, was a fall into division.
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A division of body from spirit, man from woman, person from nature, humanity from God.
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All around him, he saw one faculty of the human mind, reason, claiming dominance over all others,
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measuring, explaining, dividing everything in its path, even the arts and religion.
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It's this situation that led to the rigid classifications and hierarchies that he saw at the Royal Academy,
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and to a dry, legalistic interpretation of the Bible.
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For Blake, the Book of Job isn't the story of a righteous man being tested by an inscrutable God.
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It's the story of a man who believes mistakenly that salvation requires a slavish obedience to words written in a book.
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That's what Job's doing in this first page.
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Surrounded by his wife and children, Bible on his lap, he's performing what he believes is piety.
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But the moment is cheerless, empty.
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Above him, musical instruments hang like fruit on the tree, unused.
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There's no music, no vitality in the scene where the sun retreats behind the horizon and the sheep doze.
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As the caption says, thus did Job continually.
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This is what
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Job does out of habit, unthinkingly, day after day after day.
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The text recontextualizes the image and vice versa.
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The very existence of the surrounding border suggests that there's a wider perspective that
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Job can't see.
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He can't see that submission to the letter killeth, that only spirit giveth life.
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For Blake, God doesn't exist in some separate heaven above man.
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Job looks up where he believes the deity resides, but there's no God there, only more words.
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All throughout the series, as Job goes through his trials, as his worldview begins to change, there is this interplay between border and image,
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image and text, inviting our creative participation to interpret Blake's meaning.
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Gradually, Job learns the folly of a religion based on law, tradition, received wisdom.
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By page 14, his experience of divinity is no longer mediated by a book.
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He and his wife and his friends apprehend creation directly, and the glory of creation, with God not at the top but at the center,
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expands past the border of the image and fills the whole sheet.
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On page 17, the book has been moved from the image proper into the lower margin.
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As the caption says, I have heard thee with the hearing of the ear, but now my eye seeth thee.
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And who does he see?
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It's Christ, the divine inhuman, entreating Job to see the divine in himself.
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Books are not discarded entirely here.
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They're just restored to their proper place in the balance.
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For Blake, words aren't evil in themselves, just as reason isn't evil.
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The danger comes when we try to understand reality through words alone, or reason alone, or any one fragment of the human soul.
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The danger is when we divide and sort ourselves.
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Blake's antidote to classification and division is imaginative art, an art that seeks to reunify what's been split apart.
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His plea for that unity is expressed in his work, but as with the engravings of Job, it's also enacted by it.
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Words and images coalesce in an art object made without a division of labor.
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The writing, designing, engraving, coloring, printing, they're all the product of a single set of hands, a single visionary mind.
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In 1827, at age 69, William Blake died in poverty and relative obscurity.
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And when he was rediscovered some decades after his death, his resurrectors did so by isolating the component parts of his work,
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ripping his poetry from the surrounding designs and printing it in nice, respectable font, formatted and categorized for scholarly attention.
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Next year, 2027, will mark two centuries since Blake's death,
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and in that time we've become much better at recognizing and celebrating art that crosses boundaries, that can't be contained by any one category.
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But the ecosystem will always need categories, and there will always be unclassifiable artists whose work.. is overlooked.
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If you, you, happen to be one of those artists, you already know what there is to lose by being so radical.
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Let the visionary work of William Blake remind you of all there is to gain.
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Hey everybody, thank you so much for watching.
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Thanks, guys, and I'll see you next time.
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Woordenschat en spreektips bij deze les
Deze spreekles is gebaseerd op de video “The Art World Couldn't Understand William Blake”. Deze woorden komen het vaakst terug: Blake, image, Academy. Deze video bevat 128 zinnen en 1786 woorden om na te spreken. Het gesproken deel duurt 11:19. De spreker praat in een natuurlijk tempo van ongeveer 158 woorden per minuut, dicht bij een alledaags gesprek. Slechts 77% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden, dus de woordenschat is pittig.
Belangrijke woorden in deze video
15 woorden uit de video die het leren waard zijn, met uitspraak en betekenis:
| Woord | Uitspraak | Betekenis |
|---|---|---|
| ecosystem zelfstandig naamwoord | /ˈikoʊˌsɪstəm/ | ecosysteem |
| poetry zelfstandig naamwoord | /ˈpoʊ.ə.tɹi/ | poëzie, dichtkunst |
| poem zelfstandig naamwoord | /ˈpoʊ.əm/ | gedicht, vers |
| surround werkwoord | /səˈɹaʊnd/ | omgeven, omringen |
| patron zelfstandig naamwoord | /ˈpeɪ.tɹən/ | beschermheilige, schutspatroon |
| flower zelfstandig naamwoord | /ˈfloʊɚ/ | bloem |
| exhibition zelfstandig naamwoord | /ɛksɪˈbɪʃən/ | tentoonstelling |
| expand werkwoord | /ɪkˈspænd/ | vergroten, uitbreiden |
| divine bijvoeglijk naamwoord | /dɪˈvaɪn/ | goddelijk |
| maker zelfstandig naamwoord | /ˈmeɪk.ɚ/ | maker |
| coin zelfstandig naamwoord | /ˈkoɪ̯n/ | munt, muntstuk |
| classification zelfstandig naamwoord | /ˌklæsɪfɪˈkeɪʃən/ | classificatie |
| divide werkwoord | /dɪˈvaɪd/ | verdelen |
| handful zelfstandig naamwoord | /ˈhæn(d)fʊl/ | handbreed, handbreedte |
| aesthetic bijvoeglijk naamwoord | /ɛsˈθɛ.tɪk/ | esthetisch |
Phrasal verbs die je zult horen
| Woord | Uitspraak | Betekenis |
|---|---|---|
| look up werkwoord | /ˌlʊk ˈʌp/ | opkijken |
| point out werkwoord | aanwijzen, aanduiden | |
| show up werkwoord | tentoonstellen |
Grammatica in deze video
De structuren die de spreker het meest gebruikt, met de exacte woorden uit de video:
| Structuur | In de video |
|---|---|
| Lijdende vorm be + voltooid deelwoord — het gaat om wat er gebeurt, niet om wie het doet | been organized · can't be classified · was judged |
| Present perfect have/has + voltooid deelwoord — iets uit het verleden dat nu nog telt | have faced · have found · has been moved |
| Betrekkelijke bijzinnen who / which + zin — extra informatie over een persoon of ding | exhibitions, which were · man who believes |
Uitspraak om op te letten
De spreker gebruikt 20 samentrekkingen en verkorte vormen, zoals can't, didn't, they're. Spreek ze kort uit, zoals je ze hoort.
- De klanken “sh” en “zh”: exhibition /ɛksɪˈbɪʃən/, classification /ˌklæsɪfɪˈkeɪʃən/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, caption /ˈkæp.ʃən/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/
- Lange woorden — let op de klemtoon: ecosystem /ˈikoʊˌsɪstəm/, exhibition /ɛksɪˈbɪʃən/, classification /ˌklæsɪfɪˈkeɪʃən/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, primarily /ˈpɹaɪ.mə.ɹə.li/
Klanken die Nederlandstaligen lastig vinden:
- Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: surround /səˈɹaʊnd/, expand /ɪkˈspænd/, divide /dɪˈvaɪd/, relative /ˈɹɛl.ə.tɪv/, odd /ɑd/
- /æ/ — opener dan de Nederlandse “e”: expand /ɪkˈspænd/, radical /ˈɹædɪkəl/, classification /ˌklæsɪfɪˈkeɪʃən/, handful /ˈhæn(d)fʊl/, caption /ˈkæp.ʃən/
- /g/ — een harde plofklank, geen Nederlandse “g”: recognition /ˌɹɛkəɡˈnɪʃ(ə)n/, engage /ɪnˈɡeɪd͡ʒ/, glory /ˈɡlɔːɹi/, regard /ɹɪˈɡɑːd/, gorgeous /ˈɡoɹd͡ʒəs/
Zo oefen je met deze video
- Luister de hele video één keer zonder te spreken en noteer de woorden die je niet kent.
- Begin op 0,75× snelheid, spreek zin voor zin na en ga terug naar normale snelheid zodra het makkelijk gaat.
- Neem jezelf op en vergelijk met het origineel; let daarbij op woorden als ecosystem, poetry, poem.
Wat is de Shadowing-techniek?
Shadowing is een wetenschappelijk onderbouwde taalleermethode die oorspronkelijk is ontwikkeld voor professionele tolkentraining en gepopulariseerd door polyglot Dr. Alexander Arguelles. De methode is eenvoudig maar krachtig: je luistert naar native Engelse audio en herhaalt het onmiddellijk hardop — als een schaduw die de spreker volgt met slechts 1–2 seconden vertraging. In tegenstelling tot passief luisteren of grammaticadrills, dwingt shadowing je hersenen en mondspieren om echte spraakpatronen tegelijkertijd te verwerken en te reproduceren. Onderzoek toont aan dat het de uitspraaknauwkeurigheid, intonatie, ritme, verbonden spraak, luisterbegrip en spreekvaardigheid aanzienlijk verbetert — waardoor het een van de meest effectieve methoden is voor IELTS Speaking-voorbereiding en echte Engelse communicatie.