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IITD>HSS>Arjun Ghosh>Courses>HUL823 (1601) |
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HUL 823: Contemporary Critical Theory (2016): Theories of Authorship |
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Course Outline |
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This course will explore the ways in which the figure of the Author has been conceptualised in various textual practices.
This course will be taught as a pre-Ph.D. course. It is advised that B.Tech. students wishing to opt for this course should have completed at least two courses in Literature or Philosophy and secured at least Aminus grade in both. Readings: Roland Barthes. 'The Death of the Author'. In Alistair McCleery & David Finkelstein (eds.), The Book History Reader. New York: Routledge, 221-224 Michel Foucault, (2002). “What is an Author?” In Alistair McCleery & David Finkelstein (eds.), The Book History Reader. New York: Routledge, 225-230 Immanuel Kant, “Of the Injustice of Counterfeiting Books” (1785) J.G. Fichte, “Proof of the Illegality of Reprinting: A Rationale and a Parable” (1793) Christian Lee. Novetzke, 2003. 'Divining an Author: The Idea of Authorship in an Indian Religious Tradition'. History of Religions 42, no. 3 (February): 213-242. Michael Frishkopf,. 2003. 'Authorship in Sufi Poetry'. Alif: Journal of Comparative Poetics, no. 23: 78-108. Pankaj K. Jha, 2008. A Table Laden with Good Things: Reading a Fourteenth-century Sufi Text. In Moveable Type, ed. Abhijit Gupta and Swapan Chakravorty, 3-25. Ranikhet: Permanent Black. Walter Ong, “Writing Restructures Consciousness” and “Print, Space, and Closure,” from Orality and Literacy (1982) Loewenstein, Joseph. The Author’s Due : Printing and the Prehistory of Copyright. Chicago: University of Chicago Press, 2002. Max Thomas, “Reading and Writing the Renaissance Commonplace Book: A Question of Authorship?’ from Woodmansee and Jaszi, eds., The Construction of Authorship: Textual Appropriation in Law and Literature. Durham and London, Duke UP. 401-415. Jeffrey Masten, “Playwriting: Authorship and Collaboration” in A New History of English Drama John D. Cox and David Scott Kastan, eds. New York, Columbia University Press, 1997. 357-382. Margaret J.M. Ezell. 'The posthumous publication of women's manuscripts and the history of authorship' in George L. Justice and Nathan Tinker eds. Women's Writing and the Circulation of Ideas: Manuscript Publication in England, 1550-1800. Cambridge, Cambridge UP, 2002. 121-137. Booth, Wayne. "Is There an 'Implied Author' in Every Film?" College Literature 29.2 (Spring 2002): 124.31. Sudhanva Deshpande (1996). ‛Sculpting a Play’. Seagull Theatre Quarterly. No. 11. Sep. 3-13. Siva Vaidhyanathan, “The Digital Moment,” in Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York and London, New York UP, 2001. 149-184. Mike Wayne 'Mode of Production: Technology and New Media' from Marxism and Media Studies Pluto Press, 2003. Jay David Bolter, from Writing Space, "Writing as Technology" and "Hypertext and the Remediation of Print" 2nd ed. (2001) Martha Woodmansee, “On the ‘Author Effect’: Recovering Collectivity,” in Woodmansee and Jaszi, eds., The Construction of Authorship. Durham and London, Duke UP, 1994. 15-28. Peter Jaszi, “On the ‘Author Effect’: Contemporary Copyright and Collective Creativity,” in Woodmansee and Jaszi, eds., The Construction of Authorship. Durham and London, Duke UP, 1994. 29-56. Mark Rose. 'Property/ Originality/ Personality' in Authors and Owners: The Invention of Copyright. Cambridge, Masschusetts and London, Harvard UP, 1993. 113-129. Mark Rose . “The Author as Proprietor: Donaldson v. Becket and the Genealogy of Modern Authorship ” Representations, No. 23. (Summer, 1988), pp. 51-85. | ||||||||
