Summary
Contents
Subject index
By examining the centrality of Romantic authorship to both copyright and the music industry, the author highlights the mutual dependence of capitalism and Romanticism, which situates the individual as the key creative force while challenging the commodification of art and self. Marshall reveals how the desire for bootlegs is driven by the same ideals of authenticity employed by the legitimate industry in its copyright rhetoric and practice and demonstrates how bootlegs exist as an antagonistic but necessary component of an industry that does much to prevent them. This book will be of great interest to researchers and students in the sociology of culture, social theory, cultural studies and law.
Copyright and the Romantic Author
Copyright and the Romantic Author
Everybody knows that you live forever When you done a line or two.1
From a contemporary perspective, it may seem surprising that in the eighteenth century the figure of the author plays nothing more than a supporting role in the history of copyright. In fact, it would not be incorrect to suggest that copyright had little to do with authors during this period: their interests are sometimes mentioned in copyright discourse, certainly, but nearly always through the mouth of others and as a cover for other interests. The legal cases that came to define British copyright were between stationers rather than authors. When the House of Lords was asked to adjudicate whether authors had a right in ...
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