‘From the Author’s own Original Manuscript’

This chapter explores the frantic burst of publishing activity that followed Queen Caroline’s patronage of Stephen Duck. This activity was instrumental in shaping how Duck and his work would be viewed during his life and beyond. Duck’s verse was initially published without his, or his patrons’, consent; as it quickly became a bestseller, it was followed onto the market by a slew of rival, pirated, and spurious pamphlets. Duck and his patrons had very little control over how work issued in his name was presented to the reading public, and, as this chapter reveals, their complaints very quickly became embroiled in a fiercely contested dispute about authority, authenticity, and accuracy. Duck’s patrons and supporters found it difficult to gain a hearing; their sincere statements were crowded out by competing assertions issued by energetic, innovative, and financially motivated booksellers and printers. As this chapter argues, the more that Duck’s supporters tried to object to the unauthorized reproduction of Duck’s verse, the more opportunities they created for others to raise doubts about Duck’s capabilities as a poet.

Reenactment as Racialized Scandal

This chapter considers the 2011 controversy surrounding African-American pop music star Beyoncé’s music video “Countdown,” in which she “borrowed” portions of two works by Belgian avant-garde choreographer Anne Teresa De Keersmaeker, as an example of what Rebecca Schneider refers to as the “scandal of unrestricted circulation and exchange.” Approached as reenactment, Beyoncé’s alleged plagiarism of De Keersmaeker brings to the fore certain issues that have been less discussed in other analyses of “reperformance,” particularly questions of how race structures the anxieties and gaps that reenactment produces. The chapter argues that even as Beyoncé’s unauthorized reproduction of De Keersmaeker inverts the deeply entrenched pattern of white modern and postmodern artists taking from non-white movement practices, the response to “Countdown” demonstrates the persistence of racially tinged anxieties about who is authorized to reenact what.

O projeto de lei do Compartilhamento de Arquivos Digitais: uma possível solução para o problema? | The bill's proposal of digital file sharing: a possible solution to the problem?

RESUMO A reprodução não autorizada de conteúdos digitais protegidos constitui um dos maiores problemas da atualidade, fazendo do direito autoral no meio digital um terreno de amplos conflitos. A repressão ao compartilhamento digital tem falhado enquanto solução ao problema. No texto, expomos uma proposta de legalização e apresentamos sua viabilidade econômica diante dos interesses dos detentores de direitos autorais.Palavras-chave: P2P; Compartilhamento; Legalização; Direitos Autorais; Internet.ABSTRACT The unauthorized reproduction of Protected Digital Content is one of the most important problems of the present. It raises great conflicts about copyright in the digital environment.The repression linked to digital sharing has failed to solve the problem. In this text, we present a proposal to legalize digital sharing and present the economic feasibility in facing the interests of copyright owners.Keywords: P2P; Digital Sharing; Legalization; Copyrights; Internet.

The new romantics: Authenticity, participation and the aesthetics of piracy

The participatory, collaborative and open character of networked digital media is thought to disrupt and challenge romantic assumptions and ideals about authorship, authenticity and creative expression, concepts that underpin most copyright regimes. In this article I consider MP3 blogs in the mid-2000s, drawing on an earlier study of MP3 bloggers in the U.S. and U.K. (Borschke 2012a, 2012b). MP3 blogs, like Napster and other forms of unauthorized reproduction, are better understood as cultural practices and artifacts when considered alongside piracy’s long history. The aesthetic consequences and possibilities of forms of expression that are also methods of distribution, are clarified by identifying and examining a tension that connects MP3 blogging to other practices of unauthorized use: that is, the persistence of romantic ideals of creativity, authenticity and authorship even while seeming to deny and disregard them. By acknowledging the poetics of piracy practices (including the aesthetic character of distribution and replication) we can begin to understand how new authenticities build up around networked expression and how the meaning of networked forms of expression, formats, practices and artifacts can change over time.

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