By Susan Stewart
From the origins of contemporary copyright in early eighteenth-century tradition to the efforts to symbolize nature and dying in postmodern fiction, this pioneering ebook explores a sequence of difficulties in regards to the containment of illustration. Stewart specializes in particular situations of "crimes of writing"--the forgeries of George Psalmanazar, the construction of "fakelore," the "ballad scandals" of the eighteenth and 19th centuries, the imposture of Thomas Chatterton, and modern laws relating to graffiti and pornography. during this approach, she emphasizes the problems which come up as soon as language is obvious as an issue of estate and authorship is seen as a question of originality. eventually, Stewart demonstrates that crimes of writing are delineated through the legislations simply because they in particular undermine the prestige of the legislations itself: the crimes light up the irreducible incontrovertible fact that legislation is written and as a result topic to temporality and interpretation.
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26. Birrell, Seven Lectures, pp. 19-26; Thayer, Legal Control, p. 15. 27. Putnam, Question of Copyright, p. 18; Birrell, Seven Lectures, pp. 27—30. 28. : Yale University Press, 1961), Roscoe Pound gives an account of the evolution of this problem of property: "Upon the downfall of authority, seventeenth- and eighteenth-century jurists sought to put natural reason behind private property as behind all other institutions. When Kant had undermined this foundation the nineteenth-century philosophical jurists sought to deduce property from a fundamental metaphysical datum: the historical jurists sought to record the unfolding of the idea of private property in human experience, thus showing the universal idea; the utilitarian demonstrated private property by his fundamental tests and the positivist established its validity and necessity by observation of human institutions and their evolution" (pp.
Philippe Lacouc-Labarthe and Jean-Luc Nancy, The Literary Absolute: The Theory of Literature in German Romanticism, trans. Philip Barnard and Cheryl Lester (Albany: State University of New York Press, 1988), p. 40. 43. , p. 122. 44. See, however, Lindey, Plagiarism and Originality—a compilation of the history of plagiarism—as well as Daniel T. Ames, Ames on Forgery: Its Detection and Illustration (San Francisco: Bancroft-Whitney, 1899); Ralph D. : Harvard University Press, 1935). White explains that classical literary theories contended, for example, that "imitation is essential; fabrication is dangerous; subject matter is common property" (pp.
As might be expected, the fabulous narrativity of his account of his own captivity and travels is separated in his ethnography from the present tense and indirect free style of his cultural descriptions. Yet this separation has the effect of foreclosing our questions regarding his "true story," as well as suggesting the infinite possibilities for detailing and describing all cultural forms, let alone invented ones. There is little "external history" regarding the career of Psalmanazar. ar's own work: Memoirs of ****, Commonly Known by the Name of George Psalmanazar: A Reputed Native of Formosa.
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