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Accurately determining the authorship and originality of artistic works is critical to the functioning of the art market, and is an important element for viewers trying to enjoy and understand a work of art. Authentication is one of the most important tasks falling upon art institutions and the people that work at them: artists’ foundations, museums, public administrations, academics, gallery owners and art collectors are all involved. But of course authentication remains a tricky business.This book, derived from an international seminar organized by the Gala-Salvador Dalí Foundation, diffuses the knowledge, experience and opinions of some of the most prestigious experts on these subjects. Furthermore, The Authorship, Authentication and Falsification of Artworks offers new insights and proposals that can help to clarify the difficulties presented by the topic and to improve its legal regulation.

A digital copy of "Authorship As Promotional Discourse In The Screen Industries" by Hadas. Download is immediately available upon purchase!

Excerpt from The Authorship of Shakespeare, Vol. 2 of 2: With an Appendix of Additional Matters, Including a Notice of the Recently Discovered Northumberland Mss;, A Supplement of Further Proofs That Francis Bacon Was the Real Author, and a Full IndexAnd so, in the entrance Of philosophy, he continua, when the second causes, which are next unto the senses, do offer themselves to the mind of man, if it dwell and stay there, it may induce some Oblivion of the highest cause: but when a man passeth on further, and seeth the depend ence of causes, and the works of Providence, then, accord ing to the allegory of the poets, he will easily believe that the highest link of nature's chain must needs be tied to the foot of Jupiter's chair. The same doctrine is more dis tinctly exprmed in his interpretation of the fable of Pan, thus.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This book is an attempt to answer Michel Foucault's question, 'What is an author?' It examines the relationship between personal identity, the physical person of the writer, and the 'author' projected as a matter of public perception via the reception of written texts. It approaches this problem by analyzing the way Romantic writers play upon and subvert the 'author' position projected upon them in the public reception of their texts, and it sheds light on the use of anonyms and pseudonyms as strategies that subvert the emerging institution of authorship.

This important new contribution to studies on authorship and film explores the ways in which shared and disputed opinions on aesthetic quality, originality and authorial essence have shaped receptions of Lynch's films. It is also the first book to approach David Lynch as a figure composed through language, history and text. Tracing the development of Lynch's career from cult obscurity with Eraserhead, to star auteur through the release of Blue Velvet, and TV phenomenon Twin Peaks, Antony Todd examines how his idiosyncratic style introduced the term 'Lynchian' to the colloquial speech of new Hollywood and helped establish Lynch as the leading light among contemporary American auteurs. Todd explores contemporary manners and attitudes for artistic reputation building, and the standards by which Lynch's reputation was dismantled following the release of Wild at Heart and Twin Peaks: Fire Walk with Me, only to be reassembled once more through films such as Lost Highway, Mulholland Dr. and INLAND EMPIRE.In its account of the experiences at play in the encounter between ephemera, text and reader, this book reveals how authors function for pleasure in the modern filmgoer's everyday consumption of films.

Accurately determining the authorship and originality of artistic works is critical to the functioning of the art market, and is an important element for viewers trying to enjoy and understand a work of art. Authentication is one of the most important tasks falling upon art institutions and the people that work at them: artists’ foundations, museums, public administrations, academics, gallery owners and art collectors are all involved. But of course authentication remains a tricky business.This book, derived from an international seminar organized by the Gala-Salvador Dalí Foundation, diffuses the knowledge, experience and opinions of some of the most prestigious experts on these subjects. Furthermore, The Authorship, Authentication and Falsification of Artworks offers new insights and proposals that can help to clarify the difficulties presented by the topic and to improve its legal regulation.

Authorship and Appropriation is the first full-length study of the cultural and economic status of playwriting in the later seventeenth and early eighteenth centuries, and argues that the period was a decisive one in the transition from Renaissance conceptions of authorship towards modern ones. Kewes offers a fresh account of the dramatic canon, revealing how the moderns--Dryden, Otway, Lee, Behn, and then their successors Congreve, Vanbrugh, and Farquhar--acquired an esteem equal, even superior, to their illustrious predecessors Shakespeare, Jonson, and Fletcher.

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In this book, Alexander Beecroft explores how the earliest poetry in Greece (Homeric epic and lyric) and China (the Canon of Songs) evolved from being local, oral, and anonymous to being textualized, interpreted, and circulated over increasingly wider areas. Beecroft re-examines representations of authorship as found in poetic biographies such as Lives of Homer and the Zuozhuan, and in the works of other philosophical and historical authors like Plato, Aristotle, Herodotus, Confucius, and Sima Qian. Many of these anecdotes and narratives have long been rejected as spurious or motivated by naïve biographical criticism. Beecroft argues that these texts effectively negotiated the tensions between local and pan-cultural audiences. The figure of the author thus served as a catalyst to a sense of shared cultural identity in both the Greek and Chinese worlds. It also facilitated the emergence of both cultures as the bases for cosmopolitan world orders.

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In this book, Alexander Beecroft explores how the earliest poetry in Greece (Homeric epic and lyric) and China (the Canon of Songs) evolved from being local, oral, and anonymous to being textualized, interpreted, and circulated over increasingly wider areas. Beecroft re-examines representations of authorship as found in poetic biographies such as Lives of Homer and the Zuozhuan, and in the works of other philosophical and historical authors like Plato, Aristotle, Herodotus, Confucius, and Sima Qian. Many of these anecdotes and narratives have long been rejected as spurious or motivated by naïve biographical criticism. Beecroft argues that these texts effectively negotiated the tensions between local and pan-cultural audiences. The figure of the author thus served as a catalyst to a sense of shared cultural identity in both the Greek and Chinese worlds. It also facilitated the emergence of both cultures as the bases for cosmopolitan world orders.

The Equatorie of the Planetis, a Middle English text on the construction and use of a planetary equatorium, was composed in 1393. The unique manuscript, which appears to be the author's original, belongs to Peterhouse, Cambridge. In 1952 it was brought to general attention by Derek Price who argued that the text was written by Geoffrey Chaucer. Whether the Equatorie is indeed Chaucer's has remained controversial ever since. Dr Rand Schmidt's book offers a detailed examination of the literary, linguistic and codicological evidence linking the authorship of the Equatorie/I> with Chaucer. She analyses and compares the manuscript with other specimens proposed as Chaucer's hand, and evaluates the available methods of testing. The volume includes a new transcription of the Equatorie, accompanied by a facsimile of the MS, and a KWIC-concordance to the text. Diplomatic transcriptions of three Middle English astronomical texts have also been included and are printed here for the first time. Dr KARI ANNE RAND SCHMIDT is a language specialist, teaching in the Department of English at the University of Oslo.

This is a study of the collaborative creation behind literary works that are usually considered to be written by a single author. Although most theories of interpretation and editing depend on a concept of single authorship, many works are actually developed by more than one author. Stillinger examines case histories from Keats, Wordsworth, Coleridge, Mill, and T.S. Eliot, as well as from American fiction, plays, and films, demonstrating that multiple authorship is a widespread phenomenon. He shows that the reality of how an author produces a work is often more complex than is expressed in the romantic notion of the author as solitary genius. The cumulative evidence revealed in this engaging study indicates that collaboration deserves to be included in any account of authorial achievement.

The sensational narratives of John Lyly, Robert Greene, and Thomas Lodge established prose fiction as an independent genre in the late sixteenth century. The texts they created are a paradoxical blend of outrageous plotting and rhetorical sophistication, high and low culture. Although their works were feverishly devoured by contemporary readers, these writers are usually only known to students as sources for Shakespearean comedy. Fictions of Authorship in Late Elizabethan Narratives re-examines some of the pamphleteers earlier critics christened the "University Wits," young professionals who exposed their education and talents to the still new and uncertain world of mass market publication. These texts chart their authors' disenchantment with the limitations of romance and of their own careers, yet they also form an alternative canon of vernacular writing, which is both self-referential and self-questioning. Shocking, unpredictable, and very engaging, these narratives provide a vivid commentary on the interface between popular taste and "English literature."

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A new volume in the NEW AMERICAN COMMENTARY STUDIES IN BIBLE AND THEOLOGY series, Lukan Authorship of Hebrews explains why Luke is the likely author of the book of Hebrews. The ramifications of this possibility are then detailed in depth, including the way Hebrews informs the interpretation of the books of Luke and Acts. Also present throughout is commentary author David L. Allen’s thorough analysis of the writing style similarities between Hebrews, Luke, and Acts.

Auteurs and Authorship: A Film Reader offers students an introductory and comprehensive view of perhaps the most central concept in film studies. This unique anthology addresses the aesthetic and historical debates surrounding auteurship while providing author criticism and analysis in practice. Examines a number of mainstream and established directors, including John Ford, Alfred Hitchcock, Howard Hawks, Douglas Sirk, Frank Capra, Kathryn Bigelow, and Spike Lee Features historically important, foundational texts as well as contemporary pieces Includes numerous student features, such as a general editor’s introduction, short prefaces to each of the sections, bibliography, alternative tables of contents, and boxed features Each essay deliberately focuses across film makers’ oeuvres, rather than on one specific film, to enable lecturers to have flexibility in constructing their syllabi

The need to attribute disputed utterance constantly arises, sometimes as a matter of legal urgency (contested 'confessions' or other documents), sometimes as the focus of fierce scholarly debate (was that new story just discovered really by D.H. Lawrence? QSUM finds not), sometimes as a popular diversion (whose words were on the 'Royal Tapes'?) It is in such situations that a scientific method of attribution - one which is objective - becomes desirable.

What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western music’s adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers.

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