This article demonstrates a systematic connection between the novelty of Petrarch’s authorship and his self-definition as an exile. Petrarch employs the unusual term exilium/esilio to substantiate his unprecedented claim that literature is a legally valid officium (civic role). Following Dante, Petrarch grounds his exilic authorship in the Christian discourse of peregrinatio: life as pilgrimage through exile. But Petrarch’s new officium allows him a measure of control over literary creation that no prior Italian writer had enjoyed. This is especially true of the “Canzoniere,” Petrarch’s compilation of his vernacular lyrics, whose singularity functions as a proxy for its author’s selfhood.
In this chapter I investigate the coercive relationship between authorship and copyright from the perspective of intersectional feminist and de-colonial knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland and the Piracy Project) which all try to challenge the close ties between copyright and authorship – although with very different outcomes – I will show how the concept of authorship grounded in possessive individualism creates considerable blockages for critical art, education and collective practice. Trying to politicise individual authorship and to escape its construction through legal, economic and institutional frameworks, I discuss how this chapter would circulate in current systems of dissemination, validation and authorisation, if I did not assign my name to it, if it went un-authored so to speak. From a de-colonial feminist perspective, however, authorship after all marks the positionality of the speaking subject in order to account for the often unacknowledged eurocentrism of western philosophy (Gayatry Spivak). Acknowledging this double bind, I wonder, how we might eventually be able to invent modes of being and working together that recognise the difference of the ’who’ that writes, and at the same time might be able to move on from the question ‘how can we get rid of the author’ to inventing processes of subjectivation that we want to support and instigate.
How should we understand the naming of legendary figures like Solomon in biblical titles? The ancient practice of attribution is often obscured by scholars committed to the modern construction of authorship. Texts such as 11QPsa XXVII (“David’s Compositions”) demonstrate an altogether different understanding of this ancient practice. Using Prov. 1:1 as a test case, this essay examines how biblical authors and editors assigned texts to legendary figures, and how this kind of attribution evokes a set of imagined associations in the broader literary tradition. The essay presents a description and categorization of biblical titles and textual frames, and compares these titles and frames to textual frames of ancient Near Eastern and Mediterranean collections of instruction and poetry. The essay argues that Prov. 1:1, like other textual frames, uses attribution to imaginatively stage the text in the broader literary tradition.
Describes the dynamics of the attribution argument between Stratfordians and anti-Stratfordians, with particular attention to the asymmetries of the debate. Revisits the evidence of Greene’s “A Groatsworth of Wit.” Sketches and critiques two anti-Stratfordian arguments on that evidence.
An international, multi-institutional and multi-disciplinary team of researchers from the University of Sheffield (UoS), UK; Michigan State University (MSU), MI, USA; and University of Illinois at Urbana-Champaign (UIUC), IL, USA jointly propose the exploration of authorship across three distinct but in some respects complementary digital dataset collections: 15th-century manuscripts, 17th- and 18th-century maps and 19th- and 20th-century quilts. The datasets, freely available to the investigators, represent very large and diverse collections of digitized scans or photographs in standard image file formats. The US team will consist of members from UIUC (applying to NSF) and MSU (applying to NEH). The UIUC team led by Peter Bajcsy (as US NSF project director), the MSU team led by Dean Rehberger (as US NEH project director), and the UK team led by Peter Ainsworth (as UK JISC project director). The topic of authorship serves as a common question at the intersection of humanities, arts and social sciences research that unites the proposed exploration of image analyses.
Discusses the authorship of the play Histrio-mastix
The canso attributed to Bietris de Roman participates in conventions that readily accommodate the language of desire within the exchange of political and social fidelity, offering another means by which to reconcile female authorship with a female object of courtly devotion.
hybrid pedagogies, managing DH projects, early modern drama, authorship,
early modern studies, English and continental; gender and authorship; the classical tradition
The paper revisits the arguably most conspicuous example of a Jewish Muʿtazilī Hexaemeron in Arabic. Its 11th century Byzantine Hebrew translation bears the title “Bereshit Rabbah” and attributes the work to Yeshuʿah ben Yehudah (fl. 1040-1070) whose authorship has been questioned in recent scholarship. Based on a reconstruction of all extant fragments of the Arabic original and the Hebrew translation, I will reconsider the questions of authorship, textual structure and literary genre and assess to what extent it is justified to compare this commentary/homilies on Parashat Bereshit with specific types of Hexaemeron-compositions.