The advent of statutory copyright in eighteenth-century England raised questions about ensuring access to the materials that writers need to produce new books. The public domain did not spring into being as the obverse of the rights afforded by the Act of Anne (1710), nor was it created by nineteenth-century doctrines such as fair use; rather, it developed out of practices and assumptions predating the Act of Anne and others that emerged in the statute’s wake. To explore these ideas, this chapter considers booksellers’ and authors’ conceptions of copyright as property, the metaphors proposed by advocates of anti-piracy measures, arguments about copyright’s duration and its basis in the common law, and analogies between copyright and patent law during this period. Finally, the chapter discusses the booksellers’ strategic litigation in the equity courts, where pleading could rely on imaginative premises that, in some respects, rival those of contemporaneous novelists.
The chapter argues that live performance art has not merely explored or represented the themes and theories of literary science fiction, but has “actualized” them. From Orlan’s horrific operating-theater performances to Stelarc’s real-life cyborg experiments, and from Eduardo Kac’s mutant genetic art creations to graphic depictions of robot sex, performance artists have now rendered SF concrete, live, and actual. The chapter further demonstrates how such works accord with classic SF definitions and theories (from Suvin and Jameson to Baudrillard and Deleuze) as well as with a core theory underpinning live performance art: Richard Schechner’s notion of “actuals.” Science fiction in performance art is simultaneously a political gesture, a technical feat and an “estranged,” embodied art process that both looks forward to “becoming the future” and actualizes a version of it in real time and space, live in front of us.
This article examines a number of the key political and philosophical questions in the poetry, drama, and philosophical treatises of Fulke Greville, first Lord Brooke (1554–1628), arguing that the philosophical complexity and linguistic obscurity for which Greville’s style is known offer an appropriate tool for the examination of some of his enduring intellectual preoccupations: the paradoxes of political power and the rise and fall of empires, examined in the choruses of his Ottoman closet drama Mustapha; and the examination of the mechanisms of idolatry and spiritual servitude that link the erotic poetry of the lyric sequence Caelica to the treatises on monarchy and religion. A Dedication to Sir Philip Sidney, Greville’s biography of his long-deceased friend, by contrast, offers a different perspective on political life and freedom, one that is constructed on Sidney’s exemplarity and modeled on the ethics of friendship.
The rich and expanding rhetorical universe of the English Renaissance annexed the expressive possibilities of painting and the plastic arts using a variety of figures and tropes. These—ekphrasis (intense description), blason (anatomizing description), paragone (the contest between the arts), and emblems and imprese (formal verbal-visual symbols)—allowed English writers to press the visual into the service of the verbal, creating powerful rhetorical tools and distinctive literary expression. This article describes the development of these verbal-visual tools from the late medieval period through the early seventeenth century by Italian art theorists and in the exemplary works of Sidney, Spenser, and Shakespeare.