William Morris

William Morris es una de las figuras culturales y políticas más importantes de la Inglaterra de finales del siglo xix. Su labor se extendió por la poesía, la pintura, la novela, el grabado, la edición, la decoracion y un largo etcetera de facetas a las que hay que sumar la de socialista y revolucionario durante las ultimas decadas de su vida. Sin embargo, Morris siempre estuvo convencido de que a traves de la arquitectura se podian conjugar todos estos aspectos parciales en una actividad artistica que en verdad estuviera unida a la vida de las gentes y facilitara tanto las relaciones sociales como la expresion artistica de la comunidad de la que salia. Sobre esta conviccion, Morris desarrollo a lo largo de toda su vida una deslumbrante labor teorica acerca del papel social de la arquitectura, asi como de la forma en que se crean, suceden y decaen los diferentes estilos, cuyas particularidades serian consecuencia del estado de las relaciones sociales, culturales y economicas concretas de cada sociedad en el tiempo. Aunque Morris nunca recopilo sus ensayos sobre el tema, esta preocupacion por la arquitectura recorrio toda su obra y le inspiro algunos de sus textos mas importantes. La presente antologia recoge una amplia seleccion razonada de estos escritos, muchos de ellos ineditos en castellano hasta la fecha.

En 1890 William Guest, socialista indignado por la explotación y destrucción del paisaje que rpovoca la Revolución Industrial, se despierta un buen dia en otro mundo, un mundo ideal…que no tarda en r

Este volumen reúne algunas de las más luminosas ideas de William Morris contra las nocividades de la civilización moderna.La arquitectura, la restauración de los monumentos antiguos, la función de las artes aplicadas, la vision utopica de la sociedad futura, la apuesta por que el trabajo sea una fuente de felicidad y no el mal de males o la denuncia sin paliativos de los sucedaneos que nos ofrecen como las formas acabadas de la felicidad, son algunas de las cuestiones sobre las que William Morris, con su habitual tino, argumenta. Lo sorprendente es que, casi ciento cincuenta años despues de ser escritos, los textos de Morris siguen dando aliento a la critica del espantoso mundo que la civilizacion de la mercancia esta dejando tras su paso.Editado por Olivier Barancy y traducido por Javier Rodriguez, La era del Sucedaneo es un complemento perfecto de nuestro anterior libro de Morris Como vivimos y como podriamos vivir, y tambien un inmejorable acercamiento a las aportaciones teoricas de quien sin duda es uno de los mas lucidos criticos -de todos los tiempos- de la sociedad capitalista.

William Morris estuvo aquí se compone de cuatro ensayos fundamentales del artesano y poeta inglés, hasta ahora inéditos en lengua castellana. Además, la edición contiene un prólogo sobre el autor y su obra, e introducciones correspondientes a cada uno de los ensayos escogidos, una recopilacion de textos traducidos y seleccionados por Andrea y Tomas. La frase que da titulo a la presente antologia esta inspirada en la firma del pintor flamenco Jan Van Eyck, a quien Morris toma como un excelente retratista de la belleza de siglos preteritos; el artista flamenco firmo algunas de sus obras diciendo que estuvo alli, que habia presenciado lo que supo retratar. Y Morris, exultante, sostiene ademas que viendo sus cuadros se puede ver a traves de sus ojos. Cuatro ensayosEn 'El arte: una cosa seria' Morris expresa, recurriendo a ejemplos de su vida y de la sociedad de su tiempo, la relevancia de saber disfrutar de la naturaleza y del trabajo libre; insta al lector a apreciar el espacio donde vive, y a crear, porque el llamado hombre comun, el artesano, esta llamado a participar fisica y espiritualmente en la mejora de las condiciones de vida de su comunidad. Y da cuenta de un concepto de arte ampliado: abandonando los elitismos decimononicos, renueva el concepto para que todos lo sepan apreciar y sepan incorporarlo a sus vidas. Ello, segun el autor, seria una fuente de libertad.En 'Arte y trabajo' encontramos sutiles definiciones de los terminos que titulan el ensayo; y, a partir de ellos, vemos que lo que llamamos trabajo en casos puede ser una disfrazada esclavitud; y que incluso durante la esclavitud que primaba en los pueblos señeros de la Antiguedad la gente igualmente se las ingeniaba para poder realizar tareas artisticas. Y sugiere Morris que, aunque la servidumbre imperante en aquellos pueblos pueda indignarnos, seria mas conveniente ocuparnos de mejorar la situacion laboral de las sociedades contemporaneas; y eso, sostiene, solo se logra con el desarrollo y la difusion del arte.En 'La antigua literatura del Norte: Islandia', Morris expresa su afecto por aquella isla agreste que tambien generase un inusitado interes en otros autores, como Jorge Luis Borges. En este ensayo, que al comienzo es una suerte de diario de viajes por Islandia, se nos cuenta como fue que en aquella casi despoblada tierra de pastores y guerreros nacio una mitologia que sentaria las bases de la fe de nordicos y britanicos; los islandeses aparecen como un pueblo recio, pero dueño de un imaginario que el autor equipara al de la Antigua Grecia. Aqui vemos, en una muestra de su exuberante formacion, como Morris dominaba la historia y los mitos islandeses; abundan anecdotas sobre heroes y dioses deseosos por hacerse con el poder y la gloria.En 'La Inglaterra primitiva' habla de su afecto por la tierra donde nacio: relata las hazañas y los pesares de aquellas tribus vernaculas que, con los siglos, recibieron invasiones del Imperio Romano y de los pueblos del mar; con los cuales, ademas de guerrear, se mezclaron para forjar el pueblo britanico: poseedor de una suerte de espiritu nacional en el que conviven, con cierta tension, el paganismo del Norte con del Cristianismo institucionalizado, al que parece acusar de ser uno de los culpables de la perdida del patrimonio cultural que existia antes de su llegada.

News from Nowhere is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890.Up at the League, says a friend, there had been one night a brisk conversational discussion, as to what would happen on the Morrow of the Revolution, finally shading off into a vigorous statement by various friends of their views on the future of the fully-developed new society. Says our friend: Considering the subject, the discussion was good-tempered; for those present being used to public meetings and after-lecture debates, if they did not listen to each others opinions (which could scarcely be expected of them), at all events did not always attempt to speak all together, as is the custom of people in ordinary polite society when conversing on a subject which interests them. For the rest, there were six persons present, and consequently six sections of the party were represented, four of which had strong but divergent Anarchist opinions. One of the sections, says our friend, a man whom he knows very well indeed, sat almost silent at the beginning of the discussion, but at last got drawn into it, and finished by roaring out very loud, and damning all the rest for fools; after which befel a period of noise, and then a lull, during which the aforesaid section, having said good-night very amicably, took his way home by himself to a western suburb, using the means of travelling which civilisation has forced upon us like a habit. As he sat in that vapour-bath of hurried and discontented humanity, a carriage of the underground railway, he, like others, stewed discontentedly, while in self-reproachful mood he turned over the many excellent and conclusive arguments which, though they lay at his fingers ends, he had forgotten in the just past discussion. But this frame of mind he was so used to, that it didnt last him long, and after a brief discomfort, caused by disgust with himself for having lost his temper (which he was also well used to), he found himself musing on the subject-matter of discussion, but still discontentedly and unhappily. If I could but see a day of it, he said to himself; if I could but see it!

The Well at the Worlds End William Morris - The Well at the Worlds End is a high fantasy novel by the British artist, poet, and author William Morris. It was first published in 1896 and has been reprinted a number of times since, most notably in two parts as the 20th and 21st volumes of the Ballantine Adult Fantasy series, in August and September 1970.

The Wood Beyond the World William Morris - The Wood Beyond the World is a fantasy novel by William Morris, perhaps the first modern fantasy writer to unite an imaginary world with the element of the supernatural, and thus the precursor of much of present-day fantasy literature.When the wife of Golden Walter betrays him for another man, he leaves home on a trading voyage to avoid the necessity of a feud with her family. His efforts are fruitless, as word comes to him enroute that his wifes clan has killed his father. As a storm then carries him to a faraway country, the effect of this news is merely to sunder his last ties to his homeland.

In "Art Under Plutocracy," William Morris elucidates the profound relationship between art and society, critiquing the materialistic ethos of capitalist society that stifles authentic creativity. Written in a lyrical and impassioned style, the book is a poignant examination of the ways in which wealth and privilege corrupt artistic expression. Morris weaves a compelling narrative that invites readers to reflect on the role of art in a just society while critiquing the commodification of creativity under the oppressive systems of his time. The text serves as both a manifesto and a prophetic warning about the dangers of a society driven by commercial interests rather than genuine artistic endeavors. William Morris, a prominent Victorian socialist and an influential figure in the Arts and Crafts Movement, imbued his writings with his deep commitment to social reform and aesthetic values. His background as a designer, poet, and political activist informed his perspective on the intersections of art and society, which he passionately espoused throughout his life. His experiences observing the dehumanizing effects of industrialization fueled his belief that art should be accessible and serve the greater good rather than the whims of the wealthy. Readers seeking a thought-provoking exploration of arts purpose in society will find "Art Under Plutocracy" an indispensable read. Morriss incisive critiques remain relevant today, encouraging us to question the role of economics in art and challenging us to envision a world where creativity flourishes free from the constraints of capitalist exploitation.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- An Author Biography reveals milestones in the authors life, illuminating the personal insights behind the text.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

Do you know where it is -- the Hollow Land?I have been looking for it now so long, trying to find it again the Hollow Land for there I saw my love first.I wish to tell you how I found it first of all; but I am old, my memory fails me: you must wait and let me think if I perchance can tell you how it happened. Yea, in my ears is a confused noise of trumpet-blasts singing over desolate moors, in my ears and eyes a clashing and clanging of horse-hoofs, a ringing and glittering of steel; drawn-back lips, set teeth, shouts, shrieks, and curses.

El joven Hallblithe, de la Casa del Cuervo, y su prometida viven pacíficamente en una comunidad agrícola-ganadera asentada en la Tierra de los Riscos, junto al Mar. Pero, un mal día, el muchacho descubre que su amada, la Rehen de la Casa de la Rosa, ha sido raptada por unos piratas. Hallblithe inicia un viaje por mar en su busca acompañado por Zorro Pequeño, personaje ambiguo y tretero, tan pelirrojo como el canido. Hallblithe llega primero a la Tierra del Rescate y de ahi es conducido por el anciano Aguila de Mar a una especie de Paraiso, la Tierra de la Llanura Esplendente, tambien llamada el Campo de los Inmortales o la Tierra de los Vivientes. En ella asiste al rejuvenecimiento del anciano, que se convierte en un alegre y hermoso joven, alli las mujeres le ofrecen su amor y belleza, y alli el mismisimo rey del lugar le da a comer de su plato y a beber de su vino. Sin embargo, el joven Hallblithe, de la Casa del Cuervo, no repara en el atractivo de las mujeres ni aprecia sabor alguno en los manjares que le ofrecen, pues solo piensa en encontrar a su amada. ¿Conseguira el amable y valeroso joven escapar de una tierra sin necesidades materiales, donde los visitantes olvidan sus anteriores vidas, donde el goce y la alegria son el unico objetivo?

WILLIAM MORRIS (1834-1896), diseñador, artesano, empresario, poeta, editor, activista político, visionario…, un auténtico polímata en plena época victoriana, es conocido sobre todo como el más influy

Dans un monde ancien et merveilleux, notre héros, Gauthier d'Or, est abandonné par son épouse au profit d'un autre homme. Mu par le désir d'éviter un conflit avec sa belle-famille, Gauthier entreprend un voyage qui l'eloigne de son pays natal. Helas, sa belle-famille assassine son pere. Gauthier apprend cette triste nouvelle alors qu'une terrible tempete l'emporte vers de lointaines contrees. Parvenu dans le chateau d'une enchanteresse, il cherche a sauver une demoiselle en detresse, captive de la maitresse des lieux. Apres une suite de peripeties rocambolesques, c'est la demoiselle en detresse qui le sauve, et ils s'echappent tous deux. Ils traversent alors un pays peuple de geants et parviennent dans un royaume dont l'usage est de prendre pour roi, quand le trone est vacant, le premier etranger venu...Le Bois au-dela du monde est un des tous premiers romans de fantasy, ou Morris, melant le merveilleux et le fantastique, cree un nouveau genre litteraire. Plus resserre et construit que ses autres tentatives dans ce domaine, ce roman est le l'incarnation de ce projet, de raviver l'esprit de Thomas Malory, en melant poesie, aventure et imaginaire.

Awhile ago there was a young man dwelling in a great and goodly city by the sea which had to name Langton on Holm. He was but of five and twenty winters, a fair-faced man, yellow-haired, tall and strong; rather wiser than foolisher than young men are mostly wont; a valiant youth, and a kind; not of many words but courteous of speech; no roisterer, nought masterful, but peaceable and knowing how to forbear: in a fray a perilous foe, and a trusty war-fellow. His father, with whom he was dwelling when this tale begins, was a great merchant, richer than a baron of the land, a head-man of the greatest of the Lineages of Langton, and a captain of the Porte; he was of the Lineage of the Goldings, therefore was he called Bartholomew Golden, and his son Golden Walter.Now ye may well deem that such a youngling as this was looked upon by all as a lucky man without a lack; but there was this flaw in his lot, whereas he had fallen into the toils of love of a woman exceeding fair, and had taken her to wife, she nought unwilling as it seemed. But when they had been wedded some six months he found by manifest tokens, that his fairness was not so much to her but that she must seek to the foulness of one worser than he in all ways; wherefore his rest departed from him, whereas he hated her for her untruth and her hatred of him; yet would the sound of her voice, as she came and went in the house, make his heart beat; and the sight of her stirred desire within him, so that he longed for her to be sweet and kind with him, and deemed that, might it be so, he should forget all the evil gone by. But it was not so; for ever when she saw him, her face changed, and her hatred of him became manifest, and howsoever she were sweet with others, with him she was hard and sour.

In The Well at the Worlds End, William Morris crafts a richly woven narrative that intertwines myth, romance, and adventure within a dreamlike medieval setting. The novel follows the quest of a young man named Ralph as he journeys through fantastical landscapes in search of a mythical well said to grant eternal happiness. Morriss prose is lyrical and evocative, utilizing archaic language and intricate descriptions to transport readers to a world reminiscent of Arthurian legends. This literary work stands as a significant contribution to the genre of fantasy, reflecting the ideals of the Arts and Crafts movement and Morriss belief in the transformative power of art and beauty. William Morris, a preeminent figure in the late 19th-century English arts, was as much a poet and designer as he was a political activist and social reformer. His deep appreciation for craftsmanship and medieval aesthetics informed his literary works, driven by a desire to revive the spirit of a bygone era in a rapidly industrializing society. This novel, published in 1896, encapsulates his vision of a harmonious world where beauty and simplicity reign over the chaos of modern life. Readers seeking to immerse themselves in a narrative that transcends mere escapism will find The Well at the Worlds End an enriching experience. Morriss exploration of love, ambition, and the quest for fulfillment resonates deeply, inviting contemporary readers to reflect upon their own pursuits of happiness amidst the complexities of modern existence. This book is an essential read for anyone drawn to fantasy literature that is both profound and aesthetically engaging.

William Morriss "The Sundering Flood" is a rich tapestry of myth and adventure that marries elements of fantasy with deep-rooted medieval influences. Set against the backdrop of an ancient world, Morris intertwines themes of longing, transformation, and the struggle for identity through lyrical prose and vibrant imagery. The narrative is punctuated by lyrical passages which reflect the authors command of language, along with an overarching sense of nostalgia that speaks to the collective yearning for a lost past. This work stands out within the context of Morriss broader literary oeuvre, as it encapsulates his fascination with Arthurian legend and the narrative complexity of mythic storytelling. Born in 1834, William Morris was not just a writer; he was a prominent designer, artist, and socialist thinker. His creative endeavors were deeply influenced by his passion for craftsmanship and the preservation of traditional arts, which likely informed the elevated language and thematic focus of "The Sundering Flood." Morriss commitment to a utopian vision and critiques of industrial society resonate throughout the text, offering layered meanings and reflections on societys conditions during his time. Readers seeking a profound exploration of imagination and the human spirit will find "The Sundering Flood" an essential addition to the canon of fantasy literature. Morriss unique blend of poetic storytelling and philosophical inquiry encourages readers to engage with their own quests for meaning, making it a timeless endeavor that captivates the heart and mind.

In "The Story of the Glittering Plain," William Morris weaves a richly imaginative tapestry that transports readers to an idyllic mythical land. This prose lays the foundation for Morriss distinctive literary style, characterized by lush descriptions and lyrical language that echo the romanticism of medieval literature. The narrative unfolds with the journey of a hero across an enchanting landscape, emblematic of Morriss desire to revive the oral storytelling tradition, as well as his critique of industrial societys disenchantment with nature. Set within the context of the broader Arts and Crafts movement, the tale not only entertains but also meditates on concepts of beauty and the moral responsibility of man to his surroundings. William Morris, an influential figure in the late 19th century, was an artist, designer, and socialist whose diverse experiences informed his writing. His deep appreciation for craftsmanship and the natural world, paired with a commitment to social reform, inspired him to create narratives that embody his ideals of harmony between art and life. This novel reflects Morriss engagement with a Utopian vision, inviting readers to explore both personal transformation and communal unity. This enchanting tale serves as a profound invitation for readers seeking to escape into a world rich in beauty and adventure. "The Story of the Glittering Plain" is not merely a fantasy; it is a reflection on the possibilities of life in harmony with nature and the power of storytelling as a vehicle for change. Morriss work remains a cornerstone for those interested in literature that transcends reality and aspires to paint a more glorious world.

In "Some Notes on Early Woodcut Books, with a Chapter on Illuminated Manuscripts," William Morris delves into the intricate world of early printed books and manuscripts, examining the aesthetics and techniques of woodcut illustrations in relation to illuminated texts. The work is marked by Morriss advocacy for craftsmanship in the age of industrialization, emphasizing the significance of artistry in the printed form. With a meticulous blend of scholarly analysis and appreciation for the beauty of early book design, this text serves as both a historical document and a call to revive the lost art of bookmaking, in which the visual elements enhance the literary experience. William Morris (1834-1896) was a British designer, writer, and socialist, whose deep-seated passion for the medieval arts profoundly influenced his views on literature and craftsmanship. His immersion in the Pre-Raphaelite movement and his quest to counteract the mass production of his time led him to explore the rich heritage of early printing. This exploration is not merely a niche interest; it reflects Morriss broader desire to reinstate a sense of beauty and individuality in art and literature. This book is highly recommended for anyone interested in the intersections of art and literature, as well as those who appreciate the history of bookmaking. Morriss insights provide valuable perspective for scholars and enthusiasts alike, inviting readers to consider the enduring significance of craftsmanship and visual storytelling in a contemporary context.

In "Signs of Change," William Morris presents a compelling exploration of the interrelations between society, art, and industry during the transitional period of the late 19th century. Through a blend of lyricism and social critique, Morris articulates his vision of a society reshaped by artisanal practices and the revival of craftsmanship in the face of industrial mass production. The books structure is rooted in a series of essays and lectures, showcasing Morriss mastery of the polemical style while inviting readers to reflect on the deeper implications of art and its role in society. This work stands as both a manifesto for the Arts and Crafts Movement and a forewarning against the dehumanizing forces of modernization, making it a pivotal piece in the literary canon of socialist thought and aesthetic philosophy. William Morris, a pivotal figure in the Victorian-era arts scene, was deeply concerned with the impact of industrialization on craftsmanship and individual creativity. His background as a designer, poet, and socialist informed his approach in "Signs of Change," offering reflections drawn from his diverse experiences in advocating for social reform. Morriss engagement with medieval art and aesthetics also underscores his longing for a more equitable society, where beauty and utility coexist harmoniously. This thought-provoking volume is a must-read for those interested in the intersections of art, politics, and sociology. Morriss insights remain strikingly relevant today, encouraging readers to critically examine the effects of modernity on culture and identity. "Signs of Change" is not only a testament to Morriss enduring legacy but also a call to slow the relentless march of industrialization in favor of creativity and community.