Authorship and Appropriation: Writing for the Stage in England, 1660-1710The author argues that the period in England, from 1660 to 1710, saw the move towards modern attitudes to dramatic art. This required authors to be the sole begetters of their works. The author also explores developments in the theatrical marketplace. |
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Contents
Prologue I | 11 |
The Proprieties of Appropriation | 32 |
Plagiarism and Property | 96 |
Copyright | |
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Account acknowledged adaptation aesthetic amateurs Aphra Behn appropriation authorship Beaumont and Fletcher Behn Bibliography borrow'd borrowing Cambridge canon Catalogue Charles Charles Gildon claim Clarendon Press collaboration collected editions Comedies Company Congreve contemporary copy Copyright Corneille critical D'Urfey dedication dramatic dramatists Duke of Guise eighteenth century Elkanah Settle English Dramatick Poets English Plays epistle folio Francis Beaumont Francis Kirkman French Gerard Langbaine Gildon Herringman History Howard John Dryden Jonson Killigrew King Kirkman Langbaine's late seventeenth late seventeenth-century Lee's literary London Love modern Molière Momus Momus Triumphans Nicholas Rowe Oedipus original Oxford Philips plagiarism Playes playwrights playwriting Plot Poems Poetical political preface première printed professional publication published quarto reader repertory Restoration revision Richard romances Scene scripts Shadwell Shadwell's Shakespeare Sir Robert Sir William sources theatre theatrical theft Thomas Thomas Killigrew Thomas Shadwell tion title-page Tragedy translation triumvirate University Press Vindication vols volume writers written