This text was the first study of the controversial bills leading to the Copyright Act 1842.

In The Art of Adapting Victorian Literature, 1848–1920, Karen E. Laird alternates between readings of nineteenth-century stage and twentieth-century silent film adaptations to demonstrate the working practices of the first adapters of Victorian fiction. Focusing on Charlotte Brontë’s Jane Eyre, Charles Dickens’s David Copperfield, and Wilkie Collins’s The Woman in White, Laird charts a new cultural history of literary adaptation as it developed throughout the long nineteenth-century.

In The Art of Adapting Victorian Literature, 1848-1920, Karen E. Laird alternates between readings of nineteenth-century stage and twentieth-century silent film adaptations to investigate the working practices of the first adapters of Victorian fiction. Laird’s juxtaposition between stage and screen brings to life the dynamic culture of literary adaptation as it developed throughout the long nineteenth-century. Focusing on Charlotte Brontë’s Jane Eyre, Charles Dickens’s David Copperfield, and Wilkie Collins’s The Woman in White, Laird demonstrates how adaptations performed the valuable cultural work of expanding the original novel’s readership across class and gender divides, exporting the English novel to America, and commemorating the novelists through adaptations that functioned as virtual literary tourism. Bridging the divide between literary criticism, film studies, and theatre history, Laird’s book reveals how the Victorian adapters set the stage for our contemporary film adaptation industry.

Richard Salmon provides an original account of the formation of the literary profession during the late Romantic and early Victorian periods. Focusing on the representation of authors in narrative and iconographic texts, including novels, biographies, sketches and portrait galleries, Salmon traces the emergence of authorship as a new form of professional identity from the 1820s to the 1850s. Many first-generation Victorian writers, including Carlyle, Dickens, Thackeray, Martineau and Barrett-Browning, contributed to contemporary debates on the 'Dignity of Literature', professional heroism, and the cultural visibility of the 'man of letters'. This study combines a broad mapping of the early Victorian literary field with detailed readings of major texts. The book argues that the key model of professional development within this period is embodied in the narrative form of literary apprenticeship, which inspired such celebrated works as David Copperfield and Aurora Leigh, and that its formative process is the 'disenchantment of the author'.

This ground-breaking and timely contribution is the first and most comprehensive edited collection to address the implications for Intellectual Property (IP) law in the context of 3D Printing and Additive Manufacturing. Providing a coverage of IP law in three main jurisdictions including the UK, USA and Australia. 3D Printing and Beyond brings together a team of distinguished IP experts and is an indispensable starting point for researchers with an interest in IP, emerging technologies and 3D printing.

In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.

Dickens' rise to fame and his world-wide popularity were by no means inevitable. He started out with no clear career in mind, drifting in and out of the theatre, journalism and editing before finding unexpected success as a creative writer. Taking account of everything known about Dickens' apprentice years, Robert L. Patten narrates the fierce struggle Dickens then had to create an alter ego, Boz, and later to contain and extinguish him. His revision of Dickens' biography in the context of early Victorian social and political history and print culture opens up a more unstable, yet more fascinating, portrait of Dickens. The book tells the story of how Dickens created an authorial persona that highlighted certain attributes and concealed others about his life, talent and publications. This complicated narrative of struggle, determination, dead ends and new beginnings is as gripping as one of Dickens' own novels.

The Handbook to Literary Research is a practical guide for students embarking on postgraduate work in Literary Studies. It introduces and explains research techniques, methodologies and approaches to information resources, paying careful attention to the differences between countries and institutions, and providing a range of key examples. This fully updated second edition is divided into five sections which cover: tools of the trade – a brand new chapter outlining how to make the most of literary resources textual scholarship and book history – explains key concepts and variations in editing, publishing and bibliography issues and approaches in literary research – presents a critical overview of theoretical approaches essential to literary studies the dissertation – demonstrates how to approach, plan and write this important research exercise glossary – provides comprehensive explanations of key terms, and a checklist of resources. Packed with useful tips and exercises and written by scholars with extensive experience as teachers and researchers in the field, this volume is the ideal Handbook for those beginning postgraduate research in literature.

A unique perspective on intellectual property law. It examines the complex policies that inform and guide modern intellectual property law at the domestic (including Scottish), European and international levels, giving the reader a true insight into the discipline and the shape of things to come.

Victorian Britain offered to the globe an economic structure of unique complexity. The trading nation, at the heart of a great empire, developed the practices of advanced capitalism - currency, banking, investment, money markets, business practices and theory, intellectual property legislation - from which the financial systems of the contemporary world emerged. Cultural forms in Victorian Britain transacted with high capitalism in a variety of ways but literary critics interested in economics have traditionally been preoccupied either with writers' hostility to industrial capitalism in terms of its shaping of class, or with the development of consumerism. Victorian Literature and Finance is the first extended study to take seriously the relationships between literary forms and those more complex discourses of Victorian high finance. These essays move beyond the examination of literature that was merely impatient with the perceived consequences of capitalism to analyse creative relationships between culture and economic structures. Considering such topics as the nature of currency, women and the culture of investment, the profits of a modern media age, the dramatization of risk on the Victorian stage, the practice of realism in relation to business theory, the culture of speculation at the end of the century, and arguments about the uncomfortable relationship between literary and financial capital, Victorian Literature and Finance sets new terms for understanding and theorizing the relationship between high finance and literary writing in the nineteenth century.