Table of Contents

Acknowledgments

Series Editors' Foreword


Paul K. Saint-Amour
"Introduction: Modernism and the Lives of Copyright"

I: Portraits of the Modernist As Copywright

Robert Spoo
"Ezra Pound, Legislator: Perpetual Rights and Unfair Competition with the Dead"

Celia Marshik
"Thinking Back through Copyright: Freedom and Fair Use in Virginia Woolf's Nonfiction"

II: Melodic Properties of the Culture System

Mark Osteen
"Rhythm Changes: Contrafacts, Copyright, and Jazz Modernism"

Joanna Demers
"Melody, Theft, and High Culture"

III: The Fall and Rise of Remix Culture

Peter Decherney
"Gag Orders: Comedy, Chaplin, and Copyright"

W. Ron Gard & Elizabeth Townsend Gard
"Marked by Modernism: Reconfiguring the 'Traditional Contours of Copyright Law' for the Twenty-First Century"

IV: Regimes of Attribution and Publicity

Catherine L. Fisk
"The Modern Author at Work on Madison Avenue"

Oliver Gerland
"Modernism and the Emergence of the Right of Publicity: From Hedda Gabler to Lucy, Lady Duff-Gordon"

V: Biography, Privacy, and Copyright

Mark A. Fowler
"'The Quick in Pursuit of the Dead': Ian Hamilton and the Clash Between Literary Biographers and Copyright Owners"

Carol Loeb Shloss
"Privacy and the Misuse of Copyright: The Case of Shloss v. The Estate of James Joyce"

VI: Calving the Wind

Stanford G. Gann, Jr.
"Beyond the Grave: Continuing Life Through Great Works"

Mary de Rachewiltz
"Mens Sine Affectu"

VII: Modernism After Modernism

Joseph R. Slaughter
"'It's good to be primitive': (Re)Placing Africa at the Ends of Modernism"

Eric Hayot & Edward Wesp
"Solomon's Bluff: Virtual Property and the Aesthetics of Modern Worldmaking"

Appendix: Copyright Protection and Users' Rights-Frequently Asked Questions

Bibliography

Notes on Contributors

Index

About the Author

Paul K. Saint-Amour is Associate Professor of English at the University of Pennsylvania and the author of The Copywrights: Intellectual Property and the Literary Imagination.

Reviews

"The genius of this collection lies in its drawing from diverse and often unexpected sources...This collection is necessary and timely, not just because it reveals the ways modernist practice evolved but because it queries the ways we study this evolution." --James Joyce Quarterly
"Modernism and Copyright places copyright at the center of modernist art, modernist theories of art, and modern ideas of ownership. For that alone, it is an important book. But these essays take us much further: they show convincingly that the laws and customs of intellectual property are crucial to our most significant political and aesthetic concepts such as generation, tradition, authenticity, community, and privacy." --Rebecca L. Walkowitz,
Rutgers University
"An engaging collection investigating how copyright has interacted with modernism as well as with its study. Working across genres--text, music, advertisements--and legal fields--privacy and publicity rights as well as copyright--Modernism and Copyright demonstrates that the allusive, mix-and-match qualities of modernism find echoes as well as contrasts in law." --Rebecca Tushnet, Georgetown Law
"Finally, a book on modernism that addresses the elephant in the room: copyright law, and the way it has shaped both artistic practices and scholarship on the subject. Modernism and Copyright is a conversation starter that will provoke a much-needed discussion." --Kembrew McLeod, University of Iowa