By Paul K. Saint-Amour
How was once modernism formed, from its starting, by means of highbrow estate legislation? What position did the law's imperial and transatlantic asymmetries play in modernism's dissemination? How did quite a few modernists take advantage of, reform, anoint, and sidestep copyright? and the way is the research of modernism this present day struggling with increasing copyright regimes?
Modernism and Copyright is the 1st publication to take in those questions. a very multi-disciplinary research, it brings jointly essays by way of students of literature, theater, cinema, song, and legislations in addition to via practising attorneys and caretakers of modernist literary estates. Its contributors' equipment are as varied because the works they speak about: Ezra Pound's copyright statute and Charlie Parker's bebop compositions characteristic the following, as do early Chaplin motion pictures, EverQuest, and the Madison road memo. As our portrait of modernism expands and fragments, Modernism and Copyright locates works akin to those on one of many few landscapes all of them in actual fact percentage: the asymmetric terrain of highbrow estate legislations.
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Extra info for Modernism and Copyright (Modernist Literature and Culture)
Though for a forceful privileging of privacy and integrity considerations over scholarly access, one could do worse than to consult Stephen James Joyce, “The Private Lives of Writers,” New York Times (Dec. 31, 1989); and Catherine Bédarida, “Stephen James Joyce, petit-ﬁls de l’écrivain: ‘Il existe une véritable industrie James Joyce,’ ” Le Monde (Mar. 22, 1995): 26. net/copyright-noticeby-pz (accessed Oct. 22, 2009). INTRODUCTION 15 Each of this book’s seven parts consists of a pair of essays sharing some premise, theme, or central question.
My suggestions here are similarly organic, if you will: that copyright in the modernist decades exceeds the limited incentive-making function in which it originated and becomes crucially entangled in the management of lives and even in the question of what a life is. As a consequence, intellectual property law comes to participate in questions to which it was once a stranger. What is it to live? What rights accrue to the living? What lives accrue to the dead? And what other lives are entrained and even negated in the unfolding of this one?
In “ ‘It’s Good to Be Primitive,’ ” Joseph R. Slaughter takes up Malian novelist Yambo Ouologuem’s Le Devoir de violence (1968), which was initially hailed as “the ﬁrst truly African novel” only to be stripped of its laurels three years later when readers found passages from a number of Western works embedded, unacknowledged, in the text. Thanks to the “intertextual color line” that divided European modernism from its ostensibly primitive source cultures, “l’affaire Ouologuem” stigmatized the novel as a clumsy, incoherent plagiarism.
Modernism and Copyright (Modernist Literature and Culture) by Paul K. Saint-Amour