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Postmodern plagiarisms : cultural agenda and aesthetic strategies of appropriation in US-American literature (1970-2010) /
Postmodern Plagiarisms investigates literary plagiarism and how it serves as a strategic act in several postmodern US-American texts. The book discusses the strong link between author and text at the interface between economics, law, and literary theory, and the complex process of its subversive vio...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Berlin ; Boston :
De Gruyter Mouton,
[2015]
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| Colección: | Buchreihe der Anglia ;
49. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Introducing plagiarism beyond illegitimate plunder
- Framing plagiarism as a postmodern negotiation of authorship and text sovereignty
- Authorship and its nemeses: plagiarism as unoriginal practice
- The commodification of literature and the economic value of authorial attribution
- The extra-aesthetic notion of plagiarism: the case of literary theft
- Under siege: challenging textual integrity and individual authorship
- Writing beyond petty theft: critifiction, context, and neo-conceptual writing
- Everything can be said and must be said in any possible way: stealing away with critifiction and playgiarism
- Disowning meaning and male authority: feminist plagiarist context
- Neo-conceptual uncreative writing of the twenty-first century
- Plagiarism as writing practice in US postmodern literature
- Practicing theory with critifiction: Raymond Federman's Double or nothing (1971/1991)
- Context as dissident feminist writing: Kathy Acker's Empire of the senseless (1988)
- Neo-conceptual appropriative writing
- Uncreative writing as constrained transcription: Kenneth Goldsmith's Day (2003)
- Appropriating legal texts: Vanessa Place's Tragodía i: statement of facts (2010)
- Appropriate and erase: Yedda Morrison's Darkness (chapter 1)
- Conclusion: the present and future of strategic appropriation in the arts.