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In Cultures of Forgery, leading literary studies and cultural studies scholars examine the double meaning of the word "forge"-to create or to form, on the one hand, and to make falsely, on the other.
A thrilling analysis of the world of plunderers, forgers, antiquity dealers, collectors, museums, auction houses with one thing in common: a vivid interest in the Ancient Near East.
"The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities - both authentic and fake - that emerged from the Victorian culture of forgery."--BOOK JACKET.
In Cultures of Forgery, leading literary studies and cultural studies scholars examine the double meaning of the word "forge"-to create or to form, on the one hand, and to make falsely, on the other.
Credulity -- Reference by artifact -- Germany and "Renaissance"--Forgery -- Replica -- Fiction -- Re-enactment.
Fake artefacts are objects of fascination. This volume is devoted to fakes and forgeries of written artefacts from Mesopotamia to modern China. Produced for economic, political, religious or more personal reasons, fake artefacts can be identified by
Malton examines the literary and cultural representation of the financial crime of forgery from the time of massive executions of forgers during the early nineteenth century to the forger's emergence as the ultimate criminal aesthete at the fin-de-siècle.
The letter is a powerfully evocative form that has gained in resonance as the habits of personal letter writing have declined in a digital age. But faith in the letter as evidence of the intimate thoughts of individuals underplays the sophisticated ways letters functioned in the past. In Cultures of Correspondence in Early Modern Britain leading scholars approach the letter from a variety of disciplinary perspectives to uncover the habits, forms, and secrets of letter writing. Where material features of the letter have often been ignored by past generations fixated on the text alone, contributors to this volume examine how such elements as handwriting, seals, ink, and the arrangement of words on the manuscript page were significant carriers of meaning alongside epistolary rhetorics. The chapters here also explore the travels of the letter, uncovering the many means through which correspondence reached a reader and the ways in which the delivery of letters preoccupied contemporaries. At the same time, they reveal how other practices, such as the use of cipher and the designs of forgery, threatened to subvert the surveillance and reading of letters. The anxiety of early modern letter writers over the vulnerability of correspondence is testament to the deep dependence of the culture on the letter. Beyond the letter as a material object, Cultures of Correspondence sheds light on textual habits. Individual chapters study the language of letter writers to reveal that what appears to be a personal and unvarnished expression of the writer's thought is in fact a deliberate, skillful exercise in managing the conventions and expectations of the form. If letters were a prominent and ingrained part of the cultural life of the early modern period, they also enjoyed textual and archival afterlives whose stories are rarely told. Too often studied only in the case of figures already celebrated for their historical or literary significance, the letter in Cultures of Correspondence emerges as the most vital and wide-ranging material, textual form of the early modern period. Contributors: Nadine Akkerman, Mark Brayshay, Christopher Burlinson, James Daybell, Jonathan Gibson, Andrew Gordon, Arnold Hunt, Lynne Magnusson, Michelle O'Callaghan, Alan Stewart, Andrew Zurcher.
According to Vasari, the young Michelangelo often borrowed drawings of past masters, which he copied, returning his imitations to the owners and keeping originals. Half a millennium later, Andy Warhol made a game of "forging" the Mona Lisa, questioning the entire concept of originality. Forged explores art forgery from ancient times to the present. In chapters combining lively biography with insightful art criticism, Jonathon Keats profiles individual art forgers and connects their stories to broader themes about the role of forgeries in society. From the Renaissance master Andrea del Sarto who faked a Raphael masterpiece at the request of his Medici patrons, to the Vermeer counterfeiter Han van Meegeren who duped the avaricious Hermann Göring, to the frustrated British artist Eric Hebborn, who began forging to expose the ignorance of experts, art forgers have challenged "legitimate" art in their own time, breaching accepted practices and upsetting the status quo. They have also provocatively confronted many of the present-day cultural anxieties that are major themes in the arts. Keats uncovers what forgeries—and our reactions to them—reveal about changing conceptions of creativity, identity, authorship, integrity, authenticity, success, and how we assign value to works of art. The book concludes by looking at how artists today have appropriated many aspects of forgery through such practices as street-art stenciling and share-and-share-alike licensing, and how these open-source "copyleft" strategies have the potential to make legitimate art meaningful again. Forgery has been much discussed—and decried—as a crime. Forged is the first book to assess great forgeries as high art in their own right.
“The essays gathered in this volume demonstrate that studying early modern European literary forgeries is a fascinating cultural adventure” (Lina Bolzoni author of The Gallery of Memory). This comprehensive study of literary and historiographical forgery goes well beyond questions of authorship. It spotlights the imaginative vitality of forgery and its sinister impact on genuine scholarship. This volume demonstrates that early modern forgery was a literary tradition in its own right, with distinctive connections to politics, Greek and Roman classics, religion, philosophy, and modern literature. The early modern explosion in forgery of all kinds—particularly in the fields of literary and archaeological falsification—demonstrates a dramatic shift in attitudes toward historical evidence and in the relation of texts to contemporary society. The authors capture the impact of this evolution within many cultural transformations, including the rise of print, changing tastes and fortunes of the literary marketplace, and the Protestant and Catholic Reformations. The thirteen essays draw on Johns Hopkins University’s Bibliotheca Fictiva, the world’s premier research collection dedicated exclusively to the subject of literary forgery. It consists of several thousand rare books and unique manuscript materials from the early modern period and beyond. Contributors: Frederic Clark, James Coleman, Richard Cooper, Arthur Freeman, Anthony Grafton, A. Katie Harris, Earle A. Havens, Jack Lynch, Shana D. O’Connell, Ingrid Rowland, Walter Stephens, Elly Truitt, Kate Tunstall