Authorship and Appropriation: Writing for the Stage in England, 1660-1710
Authorship and Appropriation is the first full-length study of the cultural and economic status of playwriting in the later seventeenth and early eighteenth centuries, and argues that the period was a decisive one in the transition from Renaissance conceptions of authorship towards modern ones. Kewes offers a fresh account of the dramatic canon, revealing how the moderns--Dryden, Otway, Lee, Behn, and then their successors Congreve, Vanbrugh, and Farquhar--acquired an esteem equal, even superior, to their illustrious predecessors Shakespeare, Jonson, and Fletcher.
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The Playwright and the Marketplace
The Proprieties of Appropriation
Plagiarism and Property
5 other sections not shown
Account acknowledged adaptation amateurs appeared appropriation authorship Beaumont borrowing called Cambridge canon catalogues century Characters Charles claim collaboration collection Comedies Company contemporary copy Corneille critical cultural dedication drama dramatic Dramatick dramatists Dryden Duke of Guise Earl earlier early edition English epilogues Fletcher folio foreign French George Gildon History individual John Jonson King Langbaine Langbaine's Language late later less Letters literary Lives London Lord Love materials Nature never Oedipus original Oxford performance period piece plagiarism Playes plays playwrights Plot Poems Poets political practice preface present printed production professional prologue publication published reader Restoration revision Richard Robert romances Scene scripts seventeenth seventeenth-century Shadwell Shakespeare sources Stage Story theatre theatrical theft third Thomas thought tion title-page Tragedies translation University Press vols volume writers written
Plagiarism and Literary Property in the Romantic Period
Tilar J. Mazzeo
No preview available - 2013
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Avstånd - närhet: Ingmar Bergmans Vintersagan på Dramaten
Snippet view - 2005